Vitreous Interface, 2016
Glass and silver leaf, HXTAL to attach horn, glass object to be displayed beside 75 x 100 cm photograph mounted on aluminium showing helmet being worn,
600h x 600w x 330w
Tom Moore uses traditional and innovative glass techniques to breathe life into his eccentric hybrid glass specimens and dreamscape dioramas. Tom’s inventive creatures address issues such as the triumph of nature over industry. Tom’s work has received a number of major prizes for glass-art and is in many prominent public collections. Tom’s work has been featured in high-profile surveys of Australian contemporary art however he also maintains strong links with a lineage of traditional craft. Tom’s aim is to produce exhibitions that are challenging in content and form while offering the audience an hopeful and humorous experience. Tom is currently a PhD candidate at UniSA undertaking practical investigations in glass focusing on hybrid life-forms, humour and the anthropocene.
“The key to understanding this work is that it is a wearable glass helmet. This work aims to embody the practice of thinking through making. This process is akin to a conversation with the material of glass that engages with the physical properties and with embedded cultural and social meanings that have accumulated over the centuries. During the Renaissance, filigrana glass (with fine, linear, patterns) was attributed with miraculous properties. It was supposed to shatter if served with poison, and save the illustrious owner. Such glassware was collected alongside marvels of nature, including “unicorn horns” and dried specimens of highly poisonous puffer-fish. When the helmet is worn, the borders between the realms of animal mineral and personal may be liquefied, echoing the metamorphic quality of glass.”