Tricia Allen is a popular glassblower with twenty years of experience in the field.
Tricia studied glass at Caulfield Institute, Melbourne, now a Monash Uni campus, 1980-83. For ten years Tricia worked for other glassblowers and hired studio space at the Meat Market Craft Centre, North Melbourne. Her work is sold through leading galleries Australia wide and is represented in private collections worldwide. It is recognisable by a vibrant colour palette, strong clean lines and distinctive forms. Stylistically she has been driven by an exploration of colour relationships and patterns.

Tricia has now operated her own full-time production studio for ten years near Lakes Entrance, East Gippsland with her partner Norm Borg, now an emerging glass artist in his own right. The Nungurner studio was built in 1999, designed by architect Don McQualter.

With the move to the new studio Tricia’s decorative works became noticeably more bold and confident and so it was not surprising to see her develop individual sculptural pieces. In 2002 she won the Nowa Nowa Nudes Art Award with ‘Marilyn IV’, a large blown bust, hip to neck.

Christian began training in scientific glass in 1990, but soon branched into the creative side of his medium. Many of his techniques were developed in solitude as there are few lampworkers in Australia, and far in between. From 1997 to 2002 he completed a master’s degree as a way of meeting other glass oriented artists. Christian is interested in developing a wider public appreciation of lampwork in Australia by creating individual and unique pieces which are the result of his many years of experience and eclectic influences gleaned from his travels and studies. A single creation may take just a few hours to make or may be worked on for days or even months to completion.

Dagmar was born in Czechoslovakia and migrated to Australia in 1954.
In 1981 she established TCG Graphic Design, one of Sydney’s premier graphic design consultancies. It was a successful studio, producing high-end corporate communications for large organisations. 
In 1997 Dagmar enrolled in a short glass course at Sydney College of the Arts.
Before its completion she knew this was to be her chosen medium. Since then, Dagmar has attended a numerous courses, developing her skills and experimenting with various techniques.
Dagmar Ackerman established a glass studio in Rozelle, NSW in March 1999 and achieved Craft Mark accreditation in early 2000.  Since January 2002, she has been
working as a full time glass artist producing commercial and artistic glass.
n late 2006 she has successfully exhibited in the USA in galleries in Wisconsin and
San Francisco. She is currently exhibiting in Boston and Park City ( Utah).

Artist's statement
My fascination with glass has always been compelling. I find its apparent fragility and paradoxically, its great strength, extremely appealing. My first works in glass focussed on the visual impact of colour and light, with the use of vibrant colour and strong
graphic shapes, which are reminiscent of my training as a graphic designer.
I continue to utilise my graphic experience when designing for glass, in addition to  incorporating other influences.
My work takes inspiration from nature and the unique Australian
panorama. I have been using new techniques to emphasise the ever changing and yet perennial nature of the Australian landscape. I recently visited The Czech republic and
Slovakia in winter and that trip impacted on my new work.

Born in Norway to Scottish parents who are both skilled glass engravers, Eileen completed her training in England, then emigrated to Australia in 1980. After many years developing her skills and working in glass studios around Australia and overseas, Eileen Gordon established the Gordon Studio with her partner Grant  Donaldson in 1990 and has gone on to become one of Australia’s foremost glassblowers. Eileen’s elegant vessels are a radiant record of the colour and light she finds in the Australian landscape.

“My love for glass began with choosing inspirational parents. Their love for the medium encouraged me to find my own expression in glassblowing rather than etching like them, or sculptural sandblasting as my brother Kevin. We compliment each other enormously and they have frequently used my blown forms as their “canvas”.

Beautiful blown glass is hard to define. It is the evanescence of light, elegance of shape – and for me, above everything it is colour. My use of colour reflects my feelings and the moods of landscape – magical explosive sunsets in Red hill, or the fragility of early dawn on Port Phillip Bay”.

“The use of silver, white gold, copper and yellow gold foils rolled onto the in layers of hot glass when blowing vessels emphasize the “surface” of the vessel I make. They contrast against each other in the central motif like a small print which is influenced by my many years of printmaking”
Brian is recognized as one of the foremost glass artists of Australia, having significant pieces in private and public collections, nationally and internationally.

In 2007 the Crafts Council of Australia awarded Brian the title “Master of Craft” for 30 years of significant work as a glass artist.

Ola Höglund and Marie Simberg-Höglund
Husband and wife team, Ola Höglund and Marie Simberg-Höglund came from Sweden and settled in New Zealand in 1982. They also have a glass studio in far North Queensland, Australia. Their work is recognised worldwide, and coveted by such people as Sir Elton John, Bill Clinton, Olivia Newton-John, Melanie Griffith and Mohammad Ali. Their masterpieces can be found in private and public collections; including the Swedish, Lichtenstein and Tongan Royal Family collections as well as the Auckland Museum in New Zealand, the Powerhouse Museum in Sydney, Tasmania Museum & Gallery in Australia and the Ebeltoft Glass Museum in Denmark. The glass is designed by Ola and Marie, and made individually by hand, by a team of skilful glass workers led by master glassblower Ola Höglund.
A variety of rare and seldom seen techniques are employed at the Höglund Glassblowing Studio including Graal, Ariel, Incalmo, Etching, Engraving, Mould Casting, Fusing, Slumping, Kiln Casting and Diamond Cutting.

Above is a selection from the Graal, Sommerso, Eclipse collections...

Not supplied...

This body of work explores the notion of the many aspects of human interaction; the faceted individual and the notion of the mask. Via the glass medium, themes of individualism and ideology are questioned through the metaphoric and symbolic dialogue of the forms.

Academic History
Bachelor of Visual Arts, Monash University

Exhibitions
2007 The Bigger Picture, Graduating Third Year Exhitition, Monash University, VIC
2007 Ranamok Glass Prize Finalist Exhibition, Touring Exhibition, Australia
2007 5th International Cheongju Craft Biennale, Cheongju, Korea

Professional Experience
2007 Technical Assistant to George Aslanis

Awards and Achievements
2007   Kirra Galleries Award for Excellence in Glass
2007   Veronica George Gallery Prize for Excellence in Glass
2007   Special Citation for Visage 3, 5th International Cheongju Craft Biennale, Korea
2007   Honorable mention for Visage 4, 5th International Cheongju Craft Biennale, Korea
2006   Blackwood Crystal Award, Monash University

"Brent King is currently undertaking studies in Bachelor of Visual Arts at Monash University. A young emerging artist, Brent has exhibited both internationally and locally." 

Susan has just completed her Hon degree of bachelor of Fine Art-Glass at Monash University.

Figure Study Series - "Through my ongoing investigation of the figure, I am exploring the relationship between volume and proportion, rhythm and gesture.  I am inspired by the qualities of the glass and contributions which the material and processes bring to  my work"

Much of Anthony Morris’s life has been as an artisan; a craftsman, a maker of all manner of beautiful things.  Always a collector and lover of art, it has only been in recent times that the artist has been permitted to emerge from the artisan.
In 1992 Anthony attended his first painting and life drawing classes.  In 1998 he attended a sculpture course at Unitec in Auckland, there discovering the joys of extending his terracotta sculptures by casting them in glass or bronze using the lost wax method.  With the artist deeply rooted in the artisan, Anthony was off on a new journey – being confident of his craft he could now delight in creating art.
Although many of Anthony’s works have gone to buyers from all over the globe, this is the first time they have been available for sale outside New Zealand.

With a background in theatre I find that handling hot glass is surprisingly similar to the stage; Spontaneity, improvisation and chance are all elements that I enjoy and exploit, both in the making and in the final installation.

Stimulated by the sculptural possibilities of human form and the organisation of musculature, I hope to create dialogue between the viscous and sinuous qualities of the glass medium.

My work alludes to the tenuous nature and fragility of human tissue, whilst also referring to its inherent strengths. It is similarities between glass and muscle, flesh and fluids of the body that inspires the making and installation of these forms.