My style of kiln-formed glass design (warm glass art) is generally very economical with shape, colour and design: you might call it minimalist or Zen-like. I also like using transparency. Both these trends are similar to my flat glass style, though perhaps more pronounced. Have a look at the possibilities.

Variations

If one of the designs off-the-shelf appeals to you, but you'd like it bigger, smaller, or in a different colour, ask! On the other hand you might want something completely unique - an art work of your own that won't be repeated. The Internet opens up the possibilities of custom-designed and hand-made art on a global scale. Again, please ask and we can explore the possibilities. My email address is ahjs@ozemail.com.au. Email messages are cheap.

To give you some ideas; previous one-offs and commissions

Please look at the whole of the website especially Experimental Glass. Some concepts are shown on this page to get you thinking.

I have continuously tried to stretch the limits of what can be done with fusing. Some of this is expressed in exploiting monochrome designs. See for example the first of the Tasmanian Scenery series (blue & clear) and in Crab, Cray, Prawn and Bug (pink and clear) in Glass off the shelf.

In other works I have explored tactile attraction, for example in the platter below. Glass is one of the most touch-familiar materials we know. We know it intimately since we even touch our lips to it. However much art glass exploits mainly the visual transparency of glass or its surface texture (both of which I love too), leaving the touch aspects underutilized.

Afghanistan, 2002.

Abstract; please supply your own interpretation of the link between art object and subject.

Crab tactilis, 2001

Kakadu in the Wet, 250mm dia, 2000

The Wet is one of the six seasons of Australia's North. The rains come and take their grasp over the parched land.

The Dry, 2000.

I try to capture the essence of the Dry, and its grittiness and illusions.

Page last modified on 2002 March 1