I enjoy handling the molten glass, the sense of flow and timing dictate my working style. Through teamwork and shared responsibility I have been exposed to various styles of glassblowing. Venetian style glass working has always fascinated me the most. The combination of fluidity and accuracy used to create a precise piece of glass is something I aim for in my work. I have utilised the technique of cane work for many years. I like the way the canes follow the surfaces of a form, like natural contour lines helping the overall definition of the shapes.

In this recent body of work, I aim to attract the viewer by using various bold colours. By placing the canes inside the piece I wish to engage the observer, drawing them closer to the work. Upon further inspection, each work reveals finer and more precise details.

These works were achieved as a result of a New Work Grant from the Australia Council for the Arts.

Tom Rowney May 2005

Watching Tom Rowney blow glass is a real treat. Somewhat reminiscent of fencing, he moves with the lithe grace of D'Artagnan, intuitively creative within the bounds of the historically prescribed and exalted Venetian tradition. Impeccably faithful to the integrity of his craft, he is yet lyrical in his interpretation. The parry and thrust feint to exquisite flourish, and all the while conscientiously adhere to the aesthetic principles of form. For these are the rules of engagement.

It's not unusual for glassblowing, particularly Venetian glassblowing, to be described in terms of dance (choreography comes with the territory, courtesy of the combination of teamwork and material temperament). In the case of Tom Rowney's work, the dance is elegantly mannered. Courtly, even.

Those already familiar with Tom's work will be aware of his fascination with Venetian technique, his embrace of the demandingly difficult, and his unwavering focus on accuracy and finesse - this new body of work introduces bold notes of colour and dainty 'merletto' (Venetian lace) to his signature reticello/latticino motifs. The inclusion of block colour marks a petit sojourn from the breathtakingly delicate pieces currently on show at the Seeds of Light exhibition at the ANU School of Art Gallery - and delivers a declaration of firm anchorage in this, a new millennium. There is a primal power to the colour that belies the meticulous streak, resulting in a strong body of curvaceously rhythmic work that is at once both classy and contemporary, with a full complement of serious 'wow' factor in the skill department.

Within each piece he also pays a quiet debt of respect to both former and present influences - the work inherently acknowledging a litany of masters; Carlo Scarpa, Archimede Seguso, and Paolo Venini....Lino Tagliapietra and Dante Marione. Such tribute is an essential courtesy. A point of Venetian etiquette, time honoured. It's part of the delicious and rather elaborate code that characterizes Venetian glassblowing - which is predicated on the reverence of history and the nobility of the artisan/master-craftsman. Tom Rowney is a very gallant practitioner of a lovingly maintained, charmingly civilized style of artistry.

Megan Bottari, Curator

Craft Australia has featured a number of exhibitions that were presented during the GAS@Ausglass: Matters of substance conference.