ABIGAIL JARVIS, ALYSSA BRADNEY, CARINA FISK, CHARLOTTE NAJJAR, HANNAH GARDINER, IRIS CUDDY, JIATONG JIANG, JULIAN DE FERRANTI, KIRSTEN BECCARIS, MAZI KLEANTHOUS, RAYMOND HUYNH, STEPHANIE BOURIS, SUSAN STIPCEVIC-WEBB, XAVIER MARZ, YIWON WU
CURATED BY XAVIER MARZ
“heat x stress x time: New Works in Glass, 2026”
ARTBOX, LEVEL 2-4 FISHER LIBRARY (2026)
Kirsten Beccaris, SE[x}LF, 2024, kiln formed glass. Photography by Estelle Yoon.
EXHIBITION STATEMENT
Tucked away in the basement of the OTC, the Sydney College of the Arts Glass workshop is one of the oldest continuous studios in Australia. Glass is shaped and holds memory of form through stress, it is a delicate dance between heat and time, retaining marks of process and the irregularities of progress. The emerging artists featured include first, second and third year undergraduate, as well as honours students. Their works explore the materiality of glass, playing with light, shadow, opacity, transparency, fragility and strength. Works demonstrate a variety of glass working techniques including stained glass, kiln forming, sand blasting, cold working and hot blown glass. Through dedicated practice and refinement of traditional technique, the artists demonstrate their ability to push their skills and the material in innovative ways.
LEVEL 4
heat x stress x time: New Works in Glass, 2026, 2026. Installation view. Photography by Estelle Yoon.
Left: Hannah Gardiner, Iris Cuddy. Centre: Susan Stipcevic-Webb. Right top: Stephanie Bouris. Right bottom: Xavier Marz, Kirsten Beccaris.
Hannah Gardiner
Self Portrait (2025)
Kiln formed glass, fossil vitra technique, frit
As a representation of personal identity, Self Portrait explores my combined heritage with elements drawn from traditional European delftware and English willow ware, bordered with Celtic symbol of interconnection. The central design features iconic gum leaves and flannel flowers fused into the surface of the glass, as a celebration of my current Australian identity.
@art.gardiner
Iris Cuddy
Graal Vase (2026)
Hot blown glass, Graal technique
This vessel was created in an exploration of the Graal technique, a process involving layering hot coloured glass and carving a design through the outermost layer, before it is reheated and shaped.
@iris_1584_
Hannah Gardiner, Self Portrait, 2025, kiln formed glass, fossil vitra technique, frit. Photography by Estelle Yoon.
Susan Stipcevic-Webb
Tears of my exes (2025)
Glass, wood, cotton, metal
This work explores the idea of keepsakes. How do we preserve our past relationships in our memory? Does the re-encounter with the keepsakes bring us happiness, sadness, astonishment. How long for? What is their place in their current life? I love keepsakes. I have many, my relationship with each is unique, each is a window into my past.
Stephanie Bouris
goblet_default.pptx (2025)
Blown glass
Did you know that the default theme palette for Microsoft PowerPoint was last replaced in 2022?
@stephw0rld
Iris Cuddy, Graal Vase, 2026, hot blown glass, Graal technique. Photography by Estelle Yoon.
Xavier Marz, Quiet Violations (test piece), 2025, blown glass, vintage medical tools. Photography by Estelle Yoon.
Xavier Marz
Quiet Violations (test piece) (2025)
Blown glass, vintage medical tools
Test piece for larger work- Quiet Violations, finalist in the USU Creative Awards. This work is a visceral response to the current political climate- the erasure of bodily autonomy and access to healthcare for women and trans folks, and the policing of gender. It speaks of medical misogyny, the quiet violations experienced behind closed doors, carried out by people in positions of power, often when we are at our most vulnerable. Like glass, the body remembers.
@xavieronmarz
Kirsten Beccaris
Hidden Memory (2024)
Blown glass, soot, timber
Memory is a vulnerable process which holds ongoing life experiences. With disruptions of physiological stress or trauma its encoding is inhibited, forging barriers and an absence of clarity. The fragility of this force is mirrored in the shattered exterior of the glass. Beneath are layers of discovery moving closer toward the original flame of memory. This work explores the protection and preservation of the psyche.
@kirsten_beccaris
LEVEL 3
heat x stress x time: New Works in Glass, 2026, 2026. Installation view. Photography by Estelle Yoon.
Left top: Carina Fisk. Left bottom: Raymond Huynh, Hannah Gardiner. Centre: Kirsten Beccaris. Right top: Xavier Marz, Jiatong Jiang. Right bottom: Yiwon Wu.
Carina Fisk
The Alchemist’s Shelf (2025)
Blown glass
This work titled The Alchemist’s Shelf is inspired by fantasy stories I read as a child. These stories offered an escape into worlds I could only dream of, and here I seek to bring them to life through glass.
@carina__fisk
Raymond Huynh
The Endurance of an Imperfect Instrument: Viola (2022)
Cast glass
Viola, is an artwork that seeks to give the limelight to an instrument that ceases to exist for many. Using the Viola as a metaphor for the human condition, I emphasise with its flawed design and unjust treatment as indicative of the personal yet universal sense of brokenness, and longing to be seen, and therefore understood. By casting this instrument of compromise in glass, I transform the ‘refuse’ nature of the instrument into something ‘precious’, giving the Viola a chance to shine through the distinct materiality of glass.
@raymond.huynh
Hannah Gardiner
Coral Bowl (2026)
Hot blown glass, Graal technique
I was inspired by patterns found in the natural world, using the Swedish Graal glass technique to engrave a repetitive linear motif and achieve a dual colour tone between the inside and the outer design.
@art.gardiner
Kirsten Beccaris
Seirocism (selection) (2025)
Blown glass
A moment caught in stillness. What once was and what will be is uncertain. Stay here, let it be and sit in the present. Seiracism materialises our ever-changing inner states of being. The oozing voids forge a state of transition. In these moments, we are marred by discomfort as we attempt to decipher its nature - malevolent or benevolent. Regression or growth? Take your time, exist as you are and remember to feel.
@kirsten_beccaris
Hannah Gardiner, Coral Bowl, 2026, hot blown glass, Graal technique. Photography by Estelle Yoon.
Xavier Marz, Champignons, 2025, blown glass. Photography by Estelle Yoon.
Xavier Marz
Champignons (2025)
Blown glass
The first pancake theory of glass blowing (and life), is that whatever you make first probably isn't going to go to plan, so do something fun to break the ice. What started as 'low stress shrooms' quickly developed into colourful, elaborate and highly experimental forms, taking on a life of their own. Inspired by a simple idea, an entire forest of glass mushrooms appeared in the hot shop last year.
@xavieronmarz
Jiatong Jiang
Faces (2026)
Sandblasted glass
This single frosted glass panel is a record of my emotional responses to Sydney’s changing weather. I used abstract facial curves to capture the subtle shifts in my mood during the city’s sudden weather changes.
Yiwon Wu
2049 Beginnings (2025)
Blown and etched glass, acrylic paint
2049 Beginnings is a vessel containing all of my experience in the CAEL2049 unit as well as a vessel for my art making and myself in general. Inspired by Virginia Woolf’s essay A Room of One’s Own, her argument that composers (female writers) need their own space to create, as well as Woolf’s own fictional stream of consciousness style. I expected nothing from this work but progress and reflection on glass as an artistic medium.
@yisoworenn_
Yiwon Wu, 2049 Beginnings, 2025, blown and etched glass, acrylic paint. Photography by Estelle Yoon.
LEVEL 2
heat x stress x time: New Works in Glass, 2026, 2026. Installation view. Photography by Estelle Yoon.
Left top: Julian de Ferranti, Charlotte Najjar. Left bottom and scattered: Abigail Jarvis. Centre: Kirsten Beccaris. Right top: Mazi Kleanthous. Right bottom: Alyssa Bradney.
Julian de Ferranti
Rarefaction (2025)
Stained glass, lead lighting
The work uses stained glass to create an anamorphic image. The viewer can look for different figures or motifs directly in the object or from the coloured shadow shining through. A new image comes with the light that shines through creating a new piece where ever that light hits next.
@julian.defa
Charlotte Najjar
Glass Collar (2025)
Slumped float glass, nickel silver hardware
The Glass Collar plays with the idea of danger and with delicate vs industrial, with the material’s fragile nature combined with thick, chunky hardware. The piece aims to be an unconventional jewellery item, one not for everyday wear, but one when worn makes the wearer feel uncomfortable, not to physically wear, but emotionally due to the dangerous material so close to the neck.
Abigail Jarvis
Domestic Harvest, Fruiting Futures (detail) (2025)
Mould blown glass, blown glass and cast glass
A collection of mould blown, cast and blown glass fruits originally part of Abigail’s graduation exhibition Domestic Harvest, Fruiting Futures; an artwork exploring queer domesticity through the symbology of fruit.
@abigailjarvisart
Alyssa Bradney, Twisted Insides, 2025, blown glass, sandblasting. Photography by Estelle Yoon.
Abigail Jarvis, Domestic Harvest, Fruiting Futures (detail), 2025, mould blown glass, blown glass and cast glass. Photography by Estelle Yoon.
Kirsten Beccaris
SE[x]LF (2024)
Kiln formed glass
Curiosity and intrigue marred by fright and unease - a call to the void. By transforming that which is typically desired, eroticised and defined by submission into something overbearing, uncanny and intimidating - a new sense of alluring beauty transpires framed by power, fear and intrigue.
@kirsten_beccaris
Mazi Kleanthous
To have and to hold (2025)
Blown and kiln formed glass
Both blown pendant lights are crowned by kiln formed cane lace inspired by the traditional wedding garter. This had been reappropriated from a symbol of ownership over women, to an expression of femininity that unifies the two forms. Suspended in air, the beings are free from the confines of society, able to exist together with the sole purpose to put light into each other's world.
@heartof_glasss
Alyssa Bradney
Twisted Insides (2025)
Blown glass, sandblasting
Made up of three twisted blown glass vessels, “Twisted Insides” depicts the cycle of anxiety that results from irrational thoughts and the feeling of a turning stomach. The clarity behind the anxiety slowly diminishes as the feeling grows, represented through the gradual change in transparency and increasing scale of the objects.