For this series I turn my attention to the perfume bottles of Lalique, and the notion of ‘collecting’. I am fascinated by the number of bottles that were created and the proliferation of collectors at the turn of the century: I realize from this research that I am also a collector. I harvest botanical samples from varying locations I am familiar with. The form of the bottle gives me a platform to capture and seal information on the inside. The bottles and landscape pieces are linked by the notion of capturing geography and a location. The interiors of the bottles reflects the fauna of a given location and the bottle stopper a piece of rock or pine cone from the same location.

I use the form of the perfume bottle to develop methods of working with inner cores and imagery in Kiln-cast glass. The inner and outer shapes of the bottle are designed initially in a 3D program and 3D printed. The components are then taken through various mould-making processes in order to complete the piece out of kiln-cast glass. The ‘stopper’ is a cast glass rock from the same location as the botanical interior, and I use a 3D PLA resin-coated plastic or a silver ring, as a link between these two components.

2017 “Summer Show” Group Exhibition Whanganui Glassworks, NZ.

2018 “Mountain Objects: Collected, Foraged and Formed” Group Exhibition, Craft Council of BC, Vancouver, Canada.

2018 “Thirty Years of Arts” The Old School House Gallery. Qualicum Beach, BC.

2019 “NorthWest Color and Light” Terminal City Glass Co-op Exhibition Port Moody Art Gallery, Vancouver, Canada.

Glass Landscapes