OF LEARNING AND SURPRISE
Vicki Torr Memorial Lecture
Ausglass Conference, Sydney, January 2011
by Gerry King
‘In the beginning’ the relatively few Australian contemporary glass artists tended to know each other personally. Though there was some separation between the new ‘hotheads’ of furnace glass, [largely introduced to the field beyond the land ‘girt by sea’], the kiln adherents, [‘warm glass’] and the more adventurous of the leadlight fraternity who had some association with the locally established trade approach to that enterprise, together they prepared the way for the phenomenon we now enjoy.
Ausglass, from the initial conference at which it was formed, has been a major
contributor to the growth of the field and to the relationships developed between practitioners across the country. It predated some of the university glass courses in contemporary glass. Through its biennial conferences and workshops it was for some time the most significant learning opportunity for new devotees. [Glass subjects were already established in some institutions and one of the planners of the first conference, Maureen Cahill had been appointed to teach the glass course in Sydney.]
Contemporary glass has grown exponentially. Not only in terms of the number of participants but significantly in the level of excellence pertaining to technical, aesthetic and conceptual achievement. Students are now producing works of a level once seen in the portfolio of professionals. Of course this is as it should be. It applies to other fields and is fundamental to progress. But the rapid sophistication of contemporary glass is remarkable. Comparative evaluation of present work and its maker calls for paradigms that acknowledge the advantage of not being the first to tread the path.
What then of the better works of the past? Should they be assessed exclusively by the criteria of the era of production or might the best be judged against the standards of today? The notable works from the early decades of contemporary glass are a mixed batch, some admirable for the era, others with little merit but indicative of developments yet to mature and a few still holding considerable appeal despite the passing of time and current advancements in intention, fabrication and resolution. There are works significant for inventiveness but now largely of historic interest as they are aesthetically and technically crude. Others hold qualities of excellence durable beyond the criteria prevailing at the time of making. I propose that many of the works of Vicki Torr continue to exhibit aesthetic excellence, innovation and a mystical individuality.
Vicki’s works sit comfortably in the latter category, the advanced level of her approach and achievement perhaps more evident now than at the time. They personified individuality, [that great measure of contemporary art and design]. They exude a personality that denies imitation.
What does the work tell of its maker? While it might be tempting to postulate otherwise, the personality of artists is not necessarily evidenced in their body of works. Yet, in contradiction, some pieces seem imbued with the essence of the maker as though a window to the artist’s traits and/or understanding of the self. I propose that this is so with the works of Vicki Torr.
Her mature works exhibit an enduring harmony. Even the more dynamic forms and angular decorative elements exude a measured restraint. The tranquillity of Vicki’s most advanced works match her calm and measured approach to life. It is as much for her placid persona as for her glass works that she is remembered and honoured by friends, associates and Ausglass.
Born in 1949 her childhood was in Park Holme, suburban Adelaide, before residing at times in Port Lincoln, Melbourne and Tasmania. Without a singular passion such as would develop once engaged with glass she undertook some house renovation and made jewellery from beads and shells for markets. In hindsight this may be seen as appropriate preparation for undertaking the role of designer-maker in a field that would soon demand her resourcefulness and invention.
An early entrant to Australian contemporary glass, her story cannot be told without reference to Ian Mowbray. Together they learnt kilnforming, each inspiring the other to new explorations but maintaining their individuality by a pact to not utilize a discovery developed by the other.
While Ian was operating a leadlight studio at the JamFactory and Vicki was in the first year of the ceramics degree they met through mutual friend Trevor Peters. Now interested in glass, she accompanied Ian to a presentation by touring representatives of the Bullseye Glass Company attended by many of the Adelaide glass community. I remember it as a persuasive pitch for the use of compatible glass for kiln working made to an audience then mostly concerned with leadlighting or, in some cases, furnace glass. Yet kiln working was an opportunity already under investigation by several of the leadlight studios, the purpose being to include kiln worked elements into window or panel pieces. Ian and Vicki decided to combine his experience with glass with her experience of kilns to tackle this new adventure.
While a student at the, [now] University of South Australia she advanced quickly, instigating and exploring new techniques. With particular success, colloidal slip was laminated within the glass to enable colour patterning. Graduating with distinction in both her major and minor studies in 1983 at the age of thirty-four Vicki is remembered with affection by the Head of Department, ceramicist Kingsley Marks, who holds her work in his collection. {Kingsley, who earlier had been my ceramics lecturer, understood the needs and frustrations of mature age students.} During this era, subjects containing glass studies were organised and in part taught by Stephen Skillitzi. It was an initial stage in the University’s commitment to contemporary glass and capacity was limited. Using their discrete facilities, cold working and furnace working instruction was contributed to by staff from the Gilles Plains TAFE College and the JamFactory in the respective disciplines. Fellow student Judy Rolevink recalls that Vicki knew then that she had a serious illness but didn’t dwell upon it. Judy purchased a cast glass bowl from Vicki’s graduation work and glass jewellery, [along with a glass fried egg] when they both participated in “Craft 84” during the Adelaide Festival of Arts.
Vicki’s professional relationship with Marks was close. The only one of her peers to major in glass studies in the final year she requested a negotiated individual programme beyond the university. Marks, understanding of her academic and professional needs facilitated a unique personal study. In cooperation with Mowbray in his studio at the JamFactory she undertook an extensive investigation of kiln forming. In accordance with the expression ‘desperate times call for desperate measures’ Marks struck the arrangement without any written record for it may not have met with approval up the managerial ladder.
Vicki and Ian’s approach to developing insights in kiln working was maintained after graduation. Ian was at the time rapidly progressing from leadlighting to kilnforming with his everlasting zeal for investigation and invention. While they worked independently each benefited from the enquiry and experimentation of the other. Together they later moved the studio to Unley forming the partnership, MOTO Glass that undertook commissions alongside their exhibition practices.
Vicki’s signature works are the double-edged bowls, ‘Cone Shaped Form’. Represented in the National Art Glass Collection at the Wagga Wagga Art Gallery this series has an almost sacred presence, the delicate organic edge seemingly impossible. At the time, [the late1980’s], the subtle aesthetic, achieved in part by the use of small sections of colour was revolutionary
and lead to the oft-repeated expression ”keep all your tiny pieces of Bullseye glass”. While it was the form that captivated, her early use of homemade frit
presented a unique appeal. Like many of the great discoveries there was an element of happenstance. An early work utilizing internal and external plaster moulds was unattended when Vicki underestimated the time required to meet a relative. The ‘double cone’ was born the problem now was to repeat it. Success was in a ratio of 1 in 9 for smaller works. The descending glass, originally discs with a total thickness of 12 to 15 mm, tended to pool in the bottom of the external mould pushing the internal mould too high. Such was her perseverance that these works became known internationally.
The work from this series in the National Art Glass Collection is accompanied by her statement. “After four years of trial and error in both technique and design, I have found warm glass work is rich in surprises and challenges. In retrospect I feel I approached it with great gusto, trying anything that occurred to me and always doing lots of testing which led to interesting discoveries and greater understanding of the medium. The kiln techniques I mainly use are fusing and slumping. Being very interested in surface texture and finish as well as decoration, often means firing a piece many times.”
The work spoke for her. She didn’t assertively market herself in what was quickly becoming a competitive field. Acceptance of her aesthetic lead to early success with commissions, inclusion in exhibitions in Australia, New Zealand, Germany, the US and Japan and acquisition by eleven public collections in Australia and the Hokkaido Museum of Modern Art, Japan.
A visiting tutor at the University of South Australia in 1987 and 1990 she was unable to undertake other invitations to teach as her health deteriorated. For want of an available donor organ she died August 22nd, 1992. Her death shocked friends and associates in contemporary glass. It was disproof of the myth of eternal life. Many glass practitioners, obsessed with the delights of unravelling the inscrutability of the ‘new’ glass and believing that the journey had just begun had not considered that for some the perspective might be dramatically foreshortened. Death of a valued colleague seemed so contradictory to the infancy of the glass adventure.
Prior to the 1993 conference the executive was presented with the notion of devoting funds raised at the conference auction to a memorial scholarship honouring her name and being awarded by members’ votes to an exhibitor in the biennial Members’ Exhibition. The system is ongoing and now expanded to include an award for an emerging member exhibiting on the association’s website.
Vicki was munificently loved in the glass community. Commemorative statements include, from the Ausglass website …
If there is any solace to be gained from the tragedy, it is that Vicky's unique work will live on as a major contribution to the visual arts. Graham Stone
… who amongst us who knew Vicki can deny feeling a large empty space, a poignant loss, the shock of her death? Jeff Hamilton
Her willingness to share information and ideas, to help anyone who asked, has left us a much greater legacy than just "objet d'art". Declan Somerville
It was Vicki's wish that her final farewell be a quiet affair with just a few friends present. In that, we may have disappointed her because a great many people turned up to say farewell. Peter Tysoe
My Lover My Friend My Wife My Partner My Critic Ian Mowbray
Jeff Hamilton recalls his delight at first seeing a work by Vicki at the 1985 Ausglass Conference Members’ Exhibition. He was exhibition coordinator and so taken with the fused and slumped stringer bowl that he purchased it and treasures it still. Hamilton later successfully retailed Vicki’s black glass brooches at his Lane Cove Gallery. Upon formation of the Vicki Torr Memorial Fund he was presented with one of the original brooches by Vicki’s mother.
There is a consensus among all who have spoken or written to me about Vicki.
She was perceived as being serene, measured and reserved and also modest about her ability and achievement.
Now there are more deaths. Australian glass practitioners who have died include some dear to the memory of Ausglass and other fellow travellers not
so widely known. They include … Annie Hand, Denise Sullivan, Judy Hancock,
Cherry Phillips, Neil Roberts, Chuck Simpson, Klaus Zimmer, Kate Hayhurst, Stephen Proctor, Anne Dybka and Trish Allen.
Now death is amongst us, an unfamiliar no more, Ausglass no longer an infant. Might this be the time to be motivated to acknowledge our decedent members before our memory fades? Before we join them.
Vicki Torr was an inspiration to those who knew her. Vicki Torr is an inspiration to those who know her work.
"What I can say for certain is that,
working with glass I will never stop learning
and never stop being surprised"Vicki Torr
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I wish to express appreciation for information
and documentation provided by …
Ian Mowbray, Kingsley Marks, Michael Scarrone,
Stephen Skillitzi, Pauline Mount, Jeff Hamilton and Judith Rolevink,
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