|
Applying
glass pigment colours to clear float glass with multiple kiln firings and
selective sandblasting, I was able to modify the flow of light across the
surface and within the glass. When I began to experiment with glass panels
as paintings in Sydney in 1993, I did not realise that this initially intuitive
exploration would lead to a re-think and return to the origins of my work
with painting and early influences of growing up in New Zealand. I acknowledge
that sometimes huge distances exist between 'seeing' and 'doing', the encircling
of which leads to renewal. |
|
 |
|
|
