bodner051

There have been a lot of students of glass in New Zealand since the first tertiary course was established in Whanganui in 1989. While some have gone on to make sustainable careers as professional glass artists, many others stop their glass-making once they finish their studies, or after a few years in the 'real world'.   A collector of glass like me is always delighted to buy a piece by an 'emerging artist' since that person may go on to a significant career. I have a number of pieces in my collection which are early examples by some of today's 'names' in glass - perhaps that might be the subject for a future blog. But equally, I also have pieces that are one of only a few made by a particular person, who did not carry on in glass. I treasure those as well. I first came across the name Nic (for Nicola) Robb in June 2006 when I bought a piece on TradeMe signed 'Nic Robb Feb 89'. Just over 8cm high, it's hardly the greatest piece of glass ever mad...

Recently I had a chance to combine a non-glass related visit to Auckland with seeing several glass exhibitions and activities. Nothing particularly links these things except my participation, but they did provide some acquisitions for my collection. I have divided them up so they don't make too big a blog - this is the third of the series of three.   On my way back north, I called in (as I frequently do) at Burning Issues in Whāngārei . I was keen to see the new gaffer, Keith Grinter, who has taken over following the death of Keith Mahy (see my blog of 17 June 2013).  On his website http://www.keithgrinter.com/ , Keith describes his excitement over his venture:   'On 16th September 2013 I started work in my own glass blowing studio in Whangarei. I had been discussing moving to Whangarei and working with Keith Mahy when he died unexpectedly. A few weeks later I was offered the opportunity of purchasing the studio by Shona Firman. With the help of Garry Nash I st...

Recently I had a chance to combine a non-glass related visit to Auckland with seeing several glass exhibitions and activities. Nothing particularly links these things except my participation, but they did provide some acquisitions for my collection. I have divided them up so they don't make too big a blog - this is the second of what will probably be a series of three.   Living in the North, I don't get to attend gallery exhibition openings very often. so I was delighted to realise that my being in Auckland would coincide with the opening of the exhibition Whispers at Masterworks Gallery in Ponsonby.  The exhibition (on until 17 November) comprises five stunning chandeliers made by 'The Crystal Chain Gang' from Masterton, being Jim Dennison and Leanne Williams. Sadly, the 'Gang' was not present (I guess it's a long way from Masterton to Ponsonby), but they certainly had a presence. Jim and Leanne made their first chandelier in 2006. Because they are s...

Recently I had a chance to combine a non-glass related visit to Auckland with seeing several glass exhibitions and activities. Nothing particularly links these things except my participation, but they did provide some acquisitions for my collection. I'll divide them up so they don't make too big a blog - there'll likely be three in this series. Off the Main Road III at the Red Barn Gallery First up, I went to see Off the Main Road III at Graeme Hitchcock's Red Barn Gallery at Churchill (west of Te Kauwhata , if like me you didn't know where Churchill is). This was an exhibition of glass by Graeme and colleagues Karin Barr, Judi Hadfield and Michelle Judge, with stone sculpture by Jonathan Bowman and bronzes by Todd Butterworth and Phil Neary. It was great to meet Michelle who was on exhibition-minding duty, but otherwise I was the only one there (a mid-week afternoon not being peak exhibition viewing time). There had been good numbers the previous weekend, and on ...

Recently a piece was offered on TradeMe that seemed on first indications to be one of the first pieces of glass made by Peter Viesnik at Albany in 1978.  Discussion with Peter, and his inspection of the piece indicated that it was not an Albany piece, but was probably made by him about 1982, in the second year of his working with Peter Raos at the Hot Glass Company at Devonport. There, unlike Albany, the glass was batched but at that early stage they were batching one colour at a time, like this blue, rather than clear. The pattern on each face is the chill mark from the marver, used to slightly 'square' the round form. Peter Viesnik c. 1982 - Park collection This discussion led to an interview with Peter about his beginnings in glass. He gave me a great morning, during which I learnt a lot, and also got to see two pieces that were made at Albany in 1978, which Peter still has.    Peter was born in the UK, and as a young man travelled quite a bit, both on his National Se...