Date : 2003
Materials : Sculptured glass, cutlery & purse
Size : H750mm x W460mm x D60mm
Certificate of authenticity
"The evening view" by Jane Cowie
B. Jane Cowie has been working with glass for over 30 years. After gaining a Visual Arts Degree at Sydney College of the Arts, Jane travelled extensively in the 1980s to learn more about art, glass and life. Returning to Australia in the 1990’s she played an important role in the development of contemporary craft in South Australia. Completing a Masters Degree in Visual Arts, A Glassmakers Perspective - History and Practice of studio glassmaking in South Australia at the University of South Australia, she moved to Singapore in 2003, to embark on a new adventure to see, learn and experience living and working in South East Asia. Continuing to develop her practice as an individual artist exhibiting in various galleries, Jane has predominately been working within the broader construction industry to design and develop large art installations, purpose-built for private and commercial spaces.
"I use glass because it has beauty and intensity like no other material.
Glass continues to fascinate, entice and speaks loudly to me. Delightful qualities of transparency and fragility can carry much meaning in a soft, delicate, and somewhere elusive manner. Translucent and transparent, glass is omnipresent, like ghosts - there but not there. Said, but not said….
Soft and elusive patterns are combined with poignant and abstract text to prompt a re-thinking of the familiar and trigger memories and romantic notions of home. There is underlying darkness in some pieces, something that seems to always be present in my work. Once settled, things collect.
The works combine handcrafted art glass objects with mixed-media materials and objects such as wallpaper fragments, hand towels, kitchen utensils and fallen leaves. These often overlooked items are connectors that indicate the human presence, everyday activities and home comforts. Juxtaposed with kiln cast glass these items are re-interpreted and displaced, to take a new meaning.
These common connectors reference the fragility and security (or lack thereof) within the home. The beauty within the works is gently foreboding, ubiquitous like dreams. Comfort and familiarity are transplanted into the gallery environment to hint at the unspoken. What it means to be at home? How to suppress the feeling of entrapment? Is it a safe and comfortable place to live? Familiar objects reconfigured question intimate understandings within relationships. Is there a tenuous unspoken ness? What is obscured by the mundane and hidden by the beauty? How do we hide anger, frustration and fear? What things are said, and what things are left unsaid?
Objects then illustrate differences as well as common concerns across cultures, family and traditions. Finding a place to belong to, a home, a space where you feel safe, a place where you can rest, is questioned. Is the family the foundation of a stable Holme or is there something else? The works while alluding to the romanticism of the past ask what is obscured.
It is these ‘in-between things’, the things that are between what is said and what is left unsaid that the exhibition is about. There is a conversation between object and text that the viewer can listen to, to find the meaning. The disconcerting quietness within the works indeed speaks loudly to those prepared to listen."
B. Jane Cowie, March 2008