Back on deck: more progress shots

XX Mon. YYYY

So its back in the saddle with lots of glass painting underway. Above is the central motif for the Balmain entryway, just finished after 6x firings, and below the first trace for the scrollwork in the arched portion of the Dorcas window to be installed into Nowra Presbyterian Church

The fanlight for the Balmain residence has just been built (above). Pictured below are close-ups of the two bird paintings. While the general approach of the design has been quite traditional, I've aimed to keep the painting fresh and forward-looking rather than imitating what can be seen as drab traditional work. Part of this decision-making was not giving the birds a matted background.

The past fortnight hasn't been completely all work and no play -its still January after all, but I'm afraid I won't be heading off to Canberra this week for the Ausglass Conference, nor dancing my feet off at Electric Gardens for the Australia Day celebrations on Saturday (as much as I would LOVE to).

There's still a lot of painting to go for the Dorcas window for Nowra Presbyterian and the donors have been extremely patient with me already... can't keep them waiting!

But I did get along to a couple of Sydney Festival events: SPECTRA at the Seymour Centre was spectacular, truly inspiring and captivating with a set by Tatsu Miyajima, Mongolian throat singing, and superb coreography. Fortunately I had spent a whole day at the AGNSW and then MCA in the week between Xmas/New year so I'd seen the Miyajima exhibition and was thrilled to see his work used in a live performance situation. Made it so much more meaningful for me. [More on Miyajima in my next blog]

And the other fascinating performance I caught as part of Sydney Festival was Long String Instrument at Sydney Town Hall. Contrasting completely with the hectic, even tortured though engaging cello work preceeding the main act, Ellen Fullman's performance was totally mesmerising and meditative

Hot off the Bench

XX Mon. YYYY

Measuring roughly 50cm square overall this Coat of Arms or Family Crest was achieved by two firings of Reusch Tracing Black Best with a stippled wash of Hancock's Grey Green on the back followed by seven different enamels laid down in four firings. The piece was then leaded together andd will have copper wire hooks soldered onto the sides for hanging.