My inspiration comes from all forms of visual stimuli: nature, art, textiles, graphics and the glass itself.
Norm describes his distinct glass art style as “focusing on organic shapes and surface manipulation, using colours and shapes found in the Australian bush.” His recent works of bold contemporary shapes and organic forms draw on the patterns and colours of eucalyptus bark.
Keeping art glass alive in his studio in Nungurner, Victoria, is his new challenge and his memories of Trish , Norms’ wife, and her work is a kaleidoscope of endless inspiration.
The history of glass perfume bottles is as old as the history of glass itself. Four thousand years ago or more, the Egyptians used unguents and potions for various religious and earthly purposes. The earliest known containers were made from wood, stone and metal, but soon the advantages of glass became apparent. Not only is it impervious to most fluids, this material is easily shaped when hot and it can be brightly coloured as decoration.
The retail packaging of perfumes today is intricate and attractive, as befits a high-value product that is consumed over time and usually kept handy in full view. But commercial bottles are mostly machine-made in mass production of thousands of identical items. We are interested instead in hand-made examples of the decorative arts where the practical purpose may be largely lost. (How many people would have bought a vase from Gallé or Tiffany, intending to fill it with flowers and water?)