Recent finalist in the prestigious Loewe Foundation Craft Prize 2025, Australian contemporary glass master Scott Chaseling explains his process and inspirations.

My path into the world of glass began unexpectedly. Fresh out of art school with a sculpture degree, I found myself unemployed. It was during this period of uncertainty that a chance encounter with a fellow graduate changed everything. He mentioned securing a traineeship at Adelaide’s Jam Factory Craft and Design Centre. Intrigued, yet operating in a pre-internet era with little concrete knowledge of the medium, I applied. It was a leap into the unknown. What started as a practical response to unemployment became a profound, lifelong engagement with a material possessing unique properties of light, form, and transformation.

My practice has never settled on a single technique. I’ve explored the painterly discipline of reverse glass painting, the layered construction of fusing, the dynamic physicality of glassblowing, and the precise refinement of cold work. Each offers distinct possibilities. My current work synthesises these methods: reverse paintings form the conceptual and visual core; fused layers build the structural and narrative foundation; blown elements introduce volume and presence; cold work provides the final articulation. An area yet unexplored is lead lighting – its interplay of structure and coloured light holds significant appeal and is a planned focus for the coming year.

My creative process is methodical, beginning with drawing for the reverse glass painting. This phase demands careful planning, as the image must be conceived and executed in reverse – a necessary mental and technical discipline. Once the painted narrative is complete and sealed beneath the glass, the physical construction of the supporting tile begins. This stage builds upon the initial imagery, adding layers of meaning and form. Finally, to emphasise the overall composition and narrative, I incorporate sculpted additions. These elements are applied towards the end, serving as deliberate counterpoints and accents to the primary form.

Above all, I aim to convey ‘joy’. If a piece elicits a smile, a moment of delight, or a sense of uncomplicated pleasure in the viewer, I consider it successful. In a complex world, the capacity of crafted objects to evoke simple, positive emotion feels increasingly significant. My work is an invitation to experience that lightness and visual pleasure.

Tools are extensions of intent. When blowing glass directly from the furnace, a pad of wet newspaper remains indispensable. Its humble nature belies its remarkable versatility: it shapes, cools, and protects the molten material with immediate responsiveness. Conversely, when initiating a piece through reverse painting, the paintbrush becomes paramount. It is the primary instrument for translating the initial vision onto the glass surface, each stroke laying the groundwork for the entire piece.

Favourite pieces are often tied to moments of discovery. Currently, that distinction belongs to a small pot, the first successful outcome in developing a new series. Its emergence felt less like a predetermined result and more like a rewarding convergence of intention, material, and process. It embodies the satisfaction of finding a solution through making and retains the spark of its unexpected success.

My work primarily reaches audiences through artist-run exhibitions and selected competitions. These platforms foster direct engagement and dialogue within the craft community. While I am currently unrepresented by a commercial gallery, these avenues provide vital visibility and connection.

A recent significant milestone was participation in the Loewe Foundation Craft Prize in Madrid. The experience stands out due to the Foundation’s profound respect for the makers. The organisers’ deep understanding of craft as a rigorous, professional discipline, and the exceptional level of curation, made it deeply validating. It was a meaningful recognition on an international stage.

Looking forward, the core of my practice remains constant: to keep making. This is the essential priority. The studio is where exploration happens – whether integrating lead lighting, refining existing techniques or discovering new combinations. The direction emerges organically from the process itself, driven by continuous engagement with the material and the evolving ideas it inspires. The work continues.

Find out more and follow Scott Chaseling via Instagram: @scottchaseling

Main feature image: ‘Cost Curl’ features reverse painting and fused, blown and etched glass. All photos courtesy of the artist.