Nowadays she enjoys to work with the glass in movement but being cold. While the paste of glass is wet, she can handle, model or texture it until it dries. Then it goes to the kiln with very little support.The result that she prefers is when the pieces are delicate, ethereal and you can even see through the paste of glass.
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In 2024, I was selected for Collect Open, the curated section of Collect—the Crafts Council’s international art fair at Somerset House in London. This was an exciting opportunity to present a new and ambitious body of work to an international audience, and to share my ongoing exploration of form, transparency, and the natural world through flameworked glass.
The same year, my work was acquired by the Fort Wayne Museum of Art in the United States, with inclusion in a major contemporary glass exhibition scheduled for 2025. This marked an important milestone for me, reflecting the growing international reach and institutional recognition of my practice.
I was also invited to take part in a three-person exhibition at Poatina Tree Gallery in Tasmania, exhibiting alongside leading Indigenous artists. The show encouraged cross-cultural exchange and highlighted shared ideas around material, making, and meaning.
Recent work includes the reception area windows for a new school building, an interior window for a wine lover, and fused glass font bowl and inserts for church furniture.