WEBVTT 1 00:00:01.272 --> 00:00:04.772 (upbeat electronic music) 2 00:00:15.990 --> 00:00:19.040 I guess when I am blowing glass, 3 00:00:19.040 --> 00:00:22.160 there are certain steps that you go through, 4 00:00:22.160 --> 00:00:24.880 and you know what's coming next. 5 00:00:24.880 --> 00:00:26.710 You know how you need to move 6 00:00:26.710 --> 00:00:29.910 and what tools you need to reach for. 7 00:00:29.910 --> 00:00:31.720 But the wonderful thing about this project 8 00:00:31.720 --> 00:00:33.560 is that even small differences 9 00:00:33.560 --> 00:00:35.440 in how you cut into the form 10 00:00:35.440 --> 00:00:37.390 and how you pull the form 11 00:00:37.390 --> 00:00:38.793 change the effects. 12 00:00:40.950 --> 00:00:42.700 It is a real luxury, I guess, 13 00:00:42.700 --> 00:00:45.560 within such a physical medium 14 00:00:45.560 --> 00:00:48.500 to have the opportunity to spend time 15 00:00:48.500 --> 00:00:52.523 to get those little details just right. 16 00:01:06.880 --> 00:01:08.797 Even though it seems hectic (laughs), 17 00:01:09.760 --> 00:01:12.290 you've still got moments of pause 18 00:01:12.290 --> 00:01:16.330 to think about how to get the best line out of something, 19 00:01:16.330 --> 00:01:20.730 and I guess working together with Matt in the studio 20 00:01:20.730 --> 00:01:23.090 or whoever you're working in the studio with, 21 00:01:23.090 --> 00:01:25.010 you'll watch people blow glass, 22 00:01:25.010 --> 00:01:26.420 and it does look like a dance 23 00:01:26.420 --> 00:01:27.690 or like it's choreographed, 24 00:01:27.690 --> 00:01:30.270 and I guess we understand the rhythm 25 00:01:30.270 --> 00:01:33.473 and understand how the heat works with the materials. 26 00:01:52.860 --> 00:01:54.680 There's definitely a relationship 27 00:01:54.680 --> 00:01:57.750 between the amount of time it takes to do something 28 00:01:57.750 --> 00:01:59.820 or the thickness of the glass, 29 00:01:59.820 --> 00:02:02.100 that one of the things that you have to constantly do 30 00:02:02.100 --> 00:02:03.170 is turn the pipe 31 00:02:03.170 --> 00:02:05.850 in order that you're working with centrifugal force, 32 00:02:05.850 --> 00:02:07.920 but you've also got to work with gravity. 33 00:02:07.920 --> 00:02:10.640 And if you let the piece stop moving, 34 00:02:10.640 --> 00:02:12.510 it'll fall down towards the ground. 35 00:02:12.510 --> 00:02:14.370 So there are inherent processes 36 00:02:14.370 --> 00:02:16.270 that you really are ingrained, 37 00:02:16.270 --> 00:02:17.800 but then you make those adjustments 38 00:02:17.800 --> 00:02:20.463 to start forward, to create a different shape. 39 00:02:43.331 --> 00:02:47.060 I've been working with the blown heart form 40 00:02:47.060 --> 00:02:49.140 for quite a few years, 41 00:02:49.140 --> 00:02:51.210 and I was introduced to the process 42 00:02:51.210 --> 00:02:55.170 of working with neon, making neon tubes, 43 00:02:55.170 --> 00:02:56.893 at the Canberra Glassworks. 44 00:02:59.320 --> 00:03:03.030 I guess that sparked the idea 45 00:03:03.030 --> 00:03:04.430 and the opportunity for me 46 00:03:04.430 --> 00:03:06.570 to look at these heart forms again, 47 00:03:06.570 --> 00:03:09.230 and then, rather than looking at them 48 00:03:09.230 --> 00:03:10.940 as a fluid form, 49 00:03:10.940 --> 00:03:12.640 which I'd been expressing 50 00:03:12.640 --> 00:03:15.383 through the process of glass blowing, 51 00:03:16.270 --> 00:03:18.400 I was given the opportunity to look at 52 00:03:18.400 --> 00:03:22.160 the idea of the electricity within our body 53 00:03:22.160 --> 00:03:25.080 and how vital that is, 54 00:03:25.080 --> 00:03:28.470 and the expression of that in these forms 55 00:03:28.470 --> 00:03:29.550 means that there's also 56 00:03:29.550 --> 00:03:33.720 this wonderful element of interactivity 57 00:03:33.720 --> 00:03:38.720 and an opportunity to explore the idea of interconnection 58 00:03:38.950 --> 00:03:42.090 and how we're all connected to each other 59 00:03:42.090 --> 00:03:43.683 and how we affect each other. 60 00:03:50.260 --> 00:03:52.160 Yeah, Matt and I are really fortunate. 61 00:03:53.850 --> 00:03:56.280 We work together and we live together, 62 00:03:56.280 --> 00:04:00.260 and we have this amazing studio 63 00:04:00.260 --> 00:04:01.833 instead of a backyard. 64 00:04:04.610 --> 00:04:07.710 I guess it's a really interesting 65 00:04:08.590 --> 00:04:11.240 thing to have the same passion 66 00:04:11.240 --> 00:04:14.850 and the same quite specific 67 00:04:14.850 --> 00:04:19.850 skill, and to be able to support each other in making work. 68 00:04:21.720 --> 00:04:23.410 I feel really fortunate that we're, 69 00:04:23.410 --> 00:04:25.780 you know, not only do we have this setup, 70 00:04:25.780 --> 00:04:28.730 but we also have the ability to support each other 71 00:04:28.730 --> 00:04:30.233 making interesting artwork.