It’s been a while between interviews with us here at the Con Artists Markets, so we thought it was high time to get back in the swing of delving a bit deeper into what it is that our makers do and what motivates and inspires them. We hope to bring you more of these interviews throughout the year.
Alan Ussher has been part of the Con Artists Markets from the beginning, or thereabouts, and you can see him each month set up with his display of intricately pattern glass pendants, beautiful perfume vials and various other hand blown glass creations. Earlier this month he brought his mobile glass blowing studio to the market – we were able to see him in real live action, which was a treat for us all. Al has been receiving a bit of press in the local region lately, and we thought it’d be a great time for us to hear about how he got into glass blowing and his journey to becoming Lismore’s very own flaming star… (appropriate puns being a bit thin on the ground, we thought we’d borrow this gem from Al’s recent brush with the local paper). Anyhow, here’s how the story goes:
Alan Ussher has been part of the Con Artists Markets from the beginning, or thereabouts, and you can see him each month set up with his display of intricately pattern glass pendants, beautiful perfume vials and various other hand blown glass creations. Earlier this month he brought his mobile glass blowing studio to the market – we were able to see him in real live action, which was a treat for us all. Al has been receiving a bit of press in the local region lately, and we thought it’d be a great time for us to hear about how he got into glass blowing and his journey to becoming Lismore’s very own flaming star… (appropriate puns being a bit thin on the ground, we thought we’d borrow this gem from Al’s recent brush with the local paper). Anyhow, here’s how the story goes:
I recall you telling me some time ago that you got into glass blowing almost by default. Can you tell us about this?
I was sharing a house with a late friend of mine – Marcel Le Bars, and he had a very small studio set up on the front verandah at a house out at Barkersvale. One day he asked me if I’d like to have a go at it, and so that’s how I got started. That was in 2000. It was Marcel's generosity that was the catalyst for me to begin. We decided to apply for the NEIS program as partners, though we were involved in a head-on collision the day we were to mail in the application. I wasn't injured badly, and a few weeks later I decided to continue with our idea of making and selling glass. I did the NEIS scheme alone and that helped me to invest time and money into a small business. I then had a fairly intensive 5 years or so doing a lot of practice and research.
Can you tell us how you’ve gained your skills in the area – have you studied, worked closely with a mentor, learnt on the job?
After a couple of years of glass blowing I flew to Canberra and travelled out to a little town called Binalong to do a six day 'one-on-one' intensive tuition with Peter Minson. Peter is third generation from a family of glassblowers and has followed a path of scientific glassblowing through to functional and art glass. Peter put me on the right track with hand skills that formed a solid foundation of skills. We covered a lot of techniques and Peter gave me demonstrations of everything from sculpture through to wine glasses, teapots and a myriad of tricks and properties of borosilicate glass.
Has your journey as a crafter always been with glass, or have there been other mediums you’ve worked with?
I've always had an interest in art and craft – my father Bruce is a rigger and very knowledgeable when it comes to fixing, modifying or building things, so I guess I come from a hands-on kinda family. I did 3 Unit art for my HSC, and my Nanna taught me how to crochet when I was a boy, so I used to make hemp bags and hats. It wasn't until I got hooked on glass that I became a professional craftsman.
What kind of glass work do you specialise in?
I specialise in a style of glass blowing called Lampworking, and I use a type of glass called borosilicate. Borosilicate glasses are known for having very low coefficients of thermal expansion, making them resistant to thermal shock, more so than any other common glass. Such glass is less subject to thermal stress and is commonly used for the construction of scientific apparatus. So it’s great for making hot and cold drinkware.
Borosilicate was only invented in the late 19th century, so this particular form of lampworking is quite a young movement. It has only been since 1986 that coloured borosilicate glass began being developed and sold!
There is no way to accurately measure the age of lampworking because many of the techniques associated with working glass at a flame were actually in use for many thousands of years before the first lamp, or burner was invented. Depending on how one defines what lampworking is, much of early glassmaking could be thought of as a kind of lampworking, or perhaps as a precursor to lampworking. Rosemary Lierke states in her paper entitled Early History of Lampworking, "if one would extend the definition of lampwork and permit a ‘small fire’ as heat source instead of single flame only, almost all ancient glass working could be defined as lampwork.
Is glass blowing a personally sustainable give up your day job kind of affair for you?
In 2005 I took the plunge and decided to do glassblowing full time, and I have supported myself solely from glass since then. Poverty is the best motivator I’ve found!
We know you’ve been doing glass blowing for a while now. Are you content to keep on working as you are or do you have plans for expanding what you do?
Glass has taken me far beyond what I had ever envisioned to be honest. Not only in regard to learning a lot of different skills outside of the studio like how to photograph glass, website building, accounting etc., but on a personal level it has helped me become more confident and enjoy a pace of life that I have the freedom to set. I love the lifestyle.
I do plan to continue as I am with the glass blowing journey. Even though I have been doing it for 11 years, there is still a lot to learn, and creatively I feel like I am only just getting warmed up.
I plan to do more teaching and recently I submitted a proposal to 30 high schools for possible future school excursions to my studio. I recently did a glassblowing performance in the intermission of "Experiments In The Dark" a NORPA gig at city hall – so there are a few alternative ideas floating around also.
I think eventually glass will take me overseas, and I have ideas of blowing glass abroad/residencies or living and working in Asia for a time. It isn't that hard for me to go somewhere and continue working…
Aside from attending the Con Artists Market each month, where else can people find your creations?
My studio is open to the public Tuesday through Friday 12 till 6pm where I have a collection of my most recent work for sale. I can do custom orders as well. You can also view a beautiful collection of images of my work online, and I have pieces that are available for purchase via shopping cart on my website – www.alanussher.com
I sell my work throughout Australia and overseas – I wholesale, and I also have work in select galleries in Sydney, Melbourne and Northern Rivers. So, too many to name.
Do you ever collaborate with other artists and makers?
Yes I do collaborate with other artists. Every year I travel to Melbourne to participate in an annual exhibition called “Glass On Flame", which is the only exhibition of its kind in Australia. It is a showcase of Australia's finest Lampworkers. We set up in the Atrium at Federation Square at the front of Kirra Gallery (one of Australia's finest glass galleries) and perform demonstrations for the public and exchange skills. There we often collaborate and each make components for a group sculpture that we assemble.
What are the eco-credentials of glass blowing? If you do break something in the course of making it, is it possible for you to re-use the glass in another product?
Yes I put most of my broken things in a big box and at times I re-melt the clear glass down and add metal oxides to it and make my own coloured glass that is then stretched out into what’s called a cane. The glass is then stored or used again.
What do you love about being a crafter, and what inspires you?
I like a challenge, and glass is a very challenging medium. It takes co-ordination, timing, you are constantly working with gravity, and it takes years and years of practice to master. I think to get desirable results after huge investments of time and money is very satisfying, and I have a sense of pride that I have created my own business from nothing. Also I am playing an important role at helping to grow the public’s appreciation and acknowledgement of lampworking as a serious art form in Australia.
I get inspired when I finally get a good result after practicing something for literally years…
Anything else?
I'd like to take this opportunity to thank all of my friends who organise and set up the market and make the posters etc. You have created a really great little market, and I hope it continues for a long time to come. Thanks for the interview! Oh yeah, and thanks to the Con. And all the crafties!
Alan Ussher Glassblowing Studio
14 Foleys Rd, South Lismore
m: 0439 468 983
alussher@yahoo.com
A big thanks to you too Al for sharing your crafting story with us, and all of the pics too xxx
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