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					    The Melting Pot
     Glass Studio




      Partnerships
 in Training & Tourism


Art Glass & Glassblowing

     Discussion Paper
       August 2002




                           1
                                     Overview
The Melting Pot art glass design studio is a unique Australian cultural organisation. We seek to maintain
the fine balance between high quality creative output and financial viability while constantly working to
 pass on knowledge. In a high-technology arts enterprise, we need to constantly develop new
                                        techniques
                              and take new ideas as far as they can go.

   This briefing paper outlines the natural progression of our success and how we plan to develop
           significant new partnerships and programmes in training and tourism.
      This will mean major new opportunities for young people, visitors, customers, trainees,
                 the South     West Region, the State and the nation alike.

                                                             River on the world’s
   We aim to train tomorrow’s fine craftspeople as we put Margaret
            cultural map, along with Venice, Waterford and Kosta Boda.

                                How will this come to fruition ?


      Through partnerships and               collaboration between you and us.


                      www.margaret-river-online.com.au/meltingpot
                Lot 158 Boodjidup Rd, PO Box 265, Margaret River WA 6285

                                                                                                            2
             Ph: (08) 9757 2252 Fax: (08) 9757 2299 meltingpot@netserv.net.au



Current Activities
•   Design, manufacture and export of high quality
    art glass
•   Sales and marketing – wholesale and retail
•   Representation in significant national and
    international collections, exhibitions,
    publications and awards
•   Cultural, industrial and educational tourism icon
    – daily glassblowing demonstrations
•   Youth employment, training and public
    education programme
•   Extensive community involvement
•   Cross-media artistic partnerships
•   Research and development – hot glass design, manufacture and training
•   International internship programme – visiting Japanese intern
•   Hosting international Ausglass conference workshop in January 2003.



Future Directions – Training
•   International workshops and visiting resident artists
•   Under-graduate & post-graduate hot glass extension workshop space and tuition
•   Accreditation and extension of educational opportunities for Melting Pot trainees
•   “Access” studio for visiting and WA glass artists
•   Weekend and Winter Workshops for fee-paying private students from WA, around Australia and Asia
    (particularly from Singapore and Japan)
•   Extension of public education and schools programme.



Future Directions – Tourism
•   Achieve international standard cultural, industrial and educational tourist attraction
•   Further develop partnerships with major arts and tourism-based stakeholders – government and
    business – to ensure and sustain placement of The Melting Pot in the forefront of Margaret River
    promotional activity.

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•   Development of MICE markets (meetings, incentives, conferences and exhibitions)
•   Development of hands-on tourism experience with weekend classes and one-off bead-making
    opportunities.



                 What is The Melting Pot Glass Studio?


Melting Pot Glass Studio is the largest               art glass design & training
studio in WA, and one of the few large facilities of its
kind in Australia.


Design, Manufacture & Export
•   Glass artist Gerry Reilly has established himself as an active
    member of the Australia glass community, in a career spanning over
    20 years (see CV attached). He and his team produce new and
    varied glass designs every day in front of an ever-changing
    audience from all over Australia and around the world.
•   Reilly’s glassware sells throughout Australia and his designs have
    been exported to China and the US, and to on-going visitors from
    England, Europe, US and Asia through the retail gallery at the
    Melting Pot. Glassblowers and trainees are encouraged and supported to develop new designs for
    exhibitions, and ultimately for retail sale.
                                                               Melting Pot glassware is represented
                                                                       in collections around the world

Cultural, Industrial &
Educational Tourism Icon
•   Large, well-ventilated studio and tourist facility with retail gallery. An established icon in the Margaret River
    region. Works in natural synergy as a strong tourism partner to the wine and leisure
    industries.
•   Reilly and his team of young glass artists are ambassadors for both WA and Australian glass, informing
    and educating members of the general public, school and community groups. Upwards of 20,000
    visitors per year from WA, interstate and overseas.
•   Development and evolution of partnerships with local wineries including retailing, exhibition and festival
    events, corporate gifts, fundraising functions, wine tastings and promotional events. Past and present
    partners include Leeuwin Estate, Voyager Estate, Redgate Wines, Evans and Tate, Minot Wines,
    Vasse Felix and Chateau Xanadu.
•   Strong and active member of partnership organisations such as Craft Australia, Tourism South West,
    Margaret River Artisans, Ausglass, Augusta-Margaret River Tourism Association and Perth Convention
    Bureau. Reilly has been a Fellow of Craftwest since 1995 and has Craftmark accreditation through Craft

                                                                                                                        4
    Australia.

                         “Tourism South West looks forward to working with The Melting Pot
                 to assist in the implementation and success of their initiative and projects.
                 The Melting Pot is well positioned to capture this lucrative [MICE] market.
         Working in partnership… the profile of the South West
                                       region can be raised.”
                                                                  Karen Priest, CEO, Tourism South West


Youth Employment, Training
& Public Education Programmes
•   The studio has an eleven-year history of employment and training for young people in the South West
    region.
•   Trainees receive training in the design and manufacture of glass art, furnace engineering and
    maintenance, chemistry and physics of glass, public relations, wholesale marketing and retail sales.
•   Successful partnership programme operating with Margaret River Senior High School – Structured
    Workplace Learning Programme.
•   Partnership completed with South West Apprenticeship and Trainee Co – with trainee Glen Garner –
    Certificate in Small Business 1, 1998. Glen was originally employed following two years on Structured
    Workplace Programme.

“In providing opportunities for students in our Structured Workplace Learning and work
              experience programmes, Melting Pot Glass Studio has been one of our
      staunchest supporters, having supported some ten students since 1995.
  Gerry and his staff have also provided mentoring opportunities for students over that
                                                       period, including students at risk.”
                                         Tony Ewing, Vocational Education & Training Co-ordinator
                                                               Margaret River Senior High School



Sales & Marketing – Wholesale & Retail
•   National and international sale of Reilly’s glass through an extensive wholesale & retail network
    of high class galleries including Craft Australia in David Jones, Sydney; Mulgara Gallery at Ayers
    Rock Resort; Kirra Australia at Southgate, Melbourne; Fremantle Arts Centre, and many more.
•   Commissions from Federal and State Government, most recently: CHOGM protocol gifts
    (Department of Prime Ministers and Cabinet), and via Craft Aust, Craftwest, major galleries and website
    (see G. Reilly resume). Craftmark accredited (Aust standards).
•   US, European and Asian commissions/collectors via website.
•   Export of Reilly’s glass designs to Chinese market and globally via our own website and Sunshine
    China. See http://www.SunshineChina.com for more.

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•   Regular export through OS and interstate retail customers.
•   Reilly’s glassware held in significant OS and Australian collections [see G. Reilly resume (App
    1). See also exhibitions, awards and publications.]
•   Major promotion during Sydney Festival 2002 (Front window display David Jones Market St – Craft
    Aust); feature artist at Create 2000 – Contemporary Design Craft Expo, Sydney; invitation artist – 2000
    VIP Olympic Invitation Exhibition, Sydney.
•   Strong corporate gift relationships with Woodside Petroleum, Kleenheat Gas and Hamersley
    Iron, amongst other large corporate customers including most major wineries and WA’s international
    sporting events.




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Extensive Community Involvement
•   Regular community involvement including sponsorship for trophies, prizes and corporate gifts with
    South West regional community groups, schools, arts and sporting organisations. Major fundraising art
    auctions with 80-100 items, fundraising recipients include local community schools and Child Health
    Research Institute, Princess Margaret Hospital.



Cross-Media Artistic Partnerships
•   Established partnership with metal artist and educator, Steve Pease whose studio is
    permanently housed within The Melting Pot. Steve Pease was a Curtin graduate in 1986 and completed
    his Masters Degree at Curtin in 1993. Steve has long established himself as one of WA’s leading metal
    artists, and currently lectures TAFE jewellery.
•   Several other partnerships with WA jeweller s, including Carole-Ann Lunn (Curtin graduate) and glass
    beadmaker/jeweller Emma Birkett (Melting Pot trainee 1996-98).
•   Large network of established and emerging Australian and OS glass artists maintain an
    association with Melting Pot, and particularly Gerry Reilly, as colleague and/or mentor.




            “(Gerry’s) commitment to glass works within Australia is evident by
    the number of trainees The Melting Pot Glass Studio has
                 self-funded over the years…
           I urge you to give them your support.”
                                       Hon Barry House MLC
                                   Member for the South West Region




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                          What do we aim to achieve?


Future Directions in Training & Tourism
Capital funding programme – hot glass equipment
Essential upgrade of existing workshop equipment is now necessary if we are to
continue to develop our potential in training and tourism programmes and keep pace
with the increasing demand for our work.


Aims
•   To bring the equipment and services to internationally recognised standard ie. equivalent of
    Venice, Kosta Boda, Caithness, Waterford.



Training
•   To maintain and extend the 3-5 year youth traineeship programme established in 1990 and to
    provide further accreditation for our successful trainees.
•   Develop our services to include successful certified educational programmes:
    •   Post-graduate training – providing mentoring and hands-on training at a tertiary level in a
        successful, working hot glass design and production facility; in partnership with existing and potential
        university visual arts programmes who would continue to provide the concept-based training.
    •   Winter & Weekend Workshop programme – intensive short-term training for private
        individuals, groups or Uni/TAFE students of 10 or less, including international students (Asia) –
        Stage 2 in 2003.
    •   Glass internship for Japanese glass intern, Mayumi Shimotori at The Melting Pot, through
        International Internship Programme, July 2002 to March 2003.
•   To be able to tender for international workshops and bring new employment opportunities and skills
    to the cultural tapestry of the South West regional area and WA in general.
•   To develop the highest quality “access” studio in WA for emerging and/or visiting
    artists and maintain incentive for young and emerging glass artists to develop their own design ideas
    within this studio, in a nurtured, supportive and collaborative environment, with access to mentors on a
    regular basis.
•   Cross-media partnerships – opportunities for artists from complimentary mediums (ie. wood,
    ceramics, multi-media, metal work, textiles and jewellery) to access expertise and facilities to
    collaborate on design concepts or have their designs commissioned in glass.
•   Training videos in glassmaking – produced by local youth film training unit. Training
    publications/educational kits produced in-house with local youth trainees.



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 •   Extend regional access for schools programmes to further increase public awareness of glass
     in South West youth and thus encourage trainees and educated regional audience for glassmaking’s
     long-term future.




 Tourism
 •   To further enhance the tourism experience and promotion at international standard. International
     prestige and exposure for South West, potential equivalent of Leeuwin Concert. Economic flow-on to
     regional businesses.
 •   M.I.C.E. market – achieve best quality experience to all aspects of the M.I.C.E. market (Meetings,
     Incentives, Conferences and Exhibitions) working closely in partnership with Tourism South
     West and PCB. Economic flow-on to regional businesses.
 •   To further access expertise and funding in order to develop tourism markets. To maintain involvement in
     tourism marketing, and research into further development of tourism opportunities.
 •   Create opportunity for hands-on tourism experience through development of in-house beadmaking
     studio. Tourists can pay to learn to “make-a-bead” or a fused glass “picture” to take home with them. By
     developing the opportunity for tourists to take home their own creation, the association with The
     Melting Pot and the Margaret River region stays with visitors and becomes an incentive to return,
     or to encourage others by-word-of-mouth.
 •   Develop further facilities for enhancing tourism experience – educational information, in house
     videos, postcards and posters, small lamp-worked low cost items, tiered seating
     and in-house PA. Also develop Japanese language demonstration capability. Further development
     must sustain friendly and approachable atmosphere of studio as this is still a major drawcard –
     breaking down barriers between artist and audience.




      “… I am aware of how often rural areas lose their valuable residents through lack of
  opportunities – either artistic or commercial or just through isolation from their particular
art form. I have known you both for 10 years and know you do not allow any of these problems
                                       to stand in your way.



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“The problem of upgrading The Melting Pot’s ‘working tools’
  is all the encouragement you need to put Margaret River
 Glass on the world map and in doing so provide economic
                       benefits to all.”
                              Heather Locke
                Projects Manager, Margaret River Arts Council
                      Board Member, Country Arts WA




                                                                10
                             How will this be achieved?

Overview
Our research to date, has led us to consider several different options for the future of
The Melting Pot Glass Studio and our training and development programmes. The upgrade
and extension of the capital equipment is the key component to sustain or extend our current training and
tourism programme. The studio must be able to attract significant funding to achieve this upgrade, as its full
realisation is beyond the financial means of the current business.

Thus, we have reached a crossroads. As practicing mid-career artists, Gerry Reilly and Margot Edwards,
both would like to take up new opportunities for development of their own careers. As small business
owners, they have put huge amount of their own personal and financial resources into sustaining and
developing The Melting Pot to its current capacity. To quote Barbara Maidment of the MR Business
Development Centre:

   “Profit margins within artistic endeavors such as a glass blowing studio are often not
   as comfortable as we would like, thus making it difficult to expand the business, not
   to mention providing opportunities for others…”




We would like to sustain a creative environment where young and emerging artists can
establish their professional practices as artists (including business skills), and create
sustainable futures for themselves, beyond that of being retained as employees. We would like to
see The Melting Pot reach its potential as a hive of creativity, where collaboration and training, ideas and
energy are being brought to the studio by all those who chose to participate in its programmes.




                                                                                                                 11
Current partners in the studio, Gerry Reilly and Margot Edwards have several options:


•   Find an entrepreneurial patron or private sponsorship organisation(s)


    and/or


•                                institution, local
    Create a partnership with an educational
    government, community or arts organisation, in order to achieve
    the required funding. This could be achieved either privately, or through subsequent eligibility for SWDC
    and/or federal government funding, through divulging of funds through the educational or community
    partnership organisation.

    or


•   Become a not-for-profit educational & access facility, and
    thus become eligible for regional, state and national government infrastructure funding, particularly
    Lotteries Commission, SWDC and federal funding initiatives, and tax deductible donations from private
    individuals and corporations.


             This decision is the KEY to delivering this plan.
               We invite input now from ALL who have a
                 current or future interest in the studio.
The patronage/sponsorship option allows for a mutually beneficial relationship, with the minimum of
disruption to the studio with the potential to be developing capital equipment prior to the glass conference
workshops in January 2003.

Acknowledgment would be public or private, on the request of the individual/family or organisation
concerned. Regardless of the outcomes, we are flexible and open to almost any scenario that fits with
The Melting Pot ethos.

If we are to form a partnership with an educational institution or community/arts
organisation, we must firstly find the appropriate organisation that is willing to undertake a partnership with
a private training facility. The studio will need to maintain independence and the capacity to still operate as a
private enterprise, alongside its training programmes.

If we are to become a non-profit organisation, we must establish support from the both the local
community, and the Perth based arts community, to ensure the studio’s validity and sustainability. Non-profit
organisations require a management committee and a membership base.




                                                                                                                    12
                          Broadwater Resort commissioned installation
                                        by Gerry Reilly


Developing Training Partnerships
In addition to The Melting Pot’s previous and current training programmes, now is the time for us to form new
partnerships and new opportunities.

We have developed a clear picture of available training programmes and opened discussions on innovative
new ways of offering cross-accreditation training partnerships with ECU and South West College of TAFE.
Successful meetings have been held with Programme Heads at ECU and South West College of TAFE,
March-July 2002.

Edith Cowan University
•   Mt Lawley campus – leading to the development of post-graduate training programme for
    visual arts graduates, potentially starting in 2003.

South West College of TAFE
•   Development of potential TAFE vocational programme for new university/TAFE campus, opening
    2004 in Margaret River (adjacent to Melting Pot Glass Studio).

Curtin University

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•   Developing relationship with Curtin University Visual Arts Department, including visiting artist
    talks to students and work-experience opportunities for Curtin undergraduates.




                                                                                                       14
Input to Federal Training Policy through ASRITC
In the process of researching funding opportunities for support in training in the crafts, we have also consulted
with Arts, Sport and Recreation Industry Training Council (ASRITC) and Employfast - the WA
Apprenticeship and Trainee Service.

We have discussed with ASRITC the development of new cross-accreditation training policies within
government agencies and the 2-4 year process involved.

In partnership with ASRITC, Create Australia is further researching training relationships between craft
studios and government educational institutions in the area of industrial crafts in Australia. Both ASRITC and
Create Australia have been open to feedback from The Melting Pot but can offer no immediate response.

Beyond our proven track record in skill training, this is an area where The Melting Pot is contributing to
industry research into sustainable craft practice. Our potential as a pilot studio for training research
programmes in this area, also reflects current policy development and research being undertaken by ArtsWA
and Craftwest.

Fee-based Private Course & Summer/Winter Schools
•   Marketing of fee-based private courses to be introduced and fully developed over next five years,
    assisted by the planned development of a Summer/Winter School programme, potentially in partnership
    with the new Margaret River Education Campus, opening in 2004.


Visual Arts Mentorship
•   Potential for combination of glass with other artistic mediums – design and skill-based
    training in Margaret River, ie. options for joining forces with jewellery maker/lecturer Steve Pease at The
    Melting Pot, and other Margaret River ceramic, wood and multi-media artists, to extend visual arts
    mentorship for students within the South West.




                                                                                                                    15
Japanese Cultural Exchange Programme
Mayumi Shimotori
•     We have committed ourselves to taking on a young Japanese glassblower, Mayumi Shimotori, under
      the International Internship Programme, for a nine-month internship from July 2002 – March 2003.
      Mayumi has previously worked at Narui Crystal glass factory in Japan, and we hope her internship
      with us will help to strengthen our ties with Japanese glassmaking in general, and encourage
      more Japanese tourists to visit our studio and the South West in general. We will be working with the
      bus tour companies to develop this new programme.
•     Mayumi is being accommodated by host families in Margaret River. We have worked closely with
      Mike Caudle from Margaret River High School_s Japanese Cultural Exchange Programme to achieve
      a supportive environment for Mayumi, within the wider community. Our thanks go to the families
      who have already agreed to host Mayumi in the first six months and we look forward to
      confirming further host families in the near future for the last three months of her internship.
•     The High School is very excited about the prospect of gaining access to Mayumi during
      her time in Margaret River to work with their Year 11-12 students and visiting Japanese students from
      Hikami Junior High School during August. She will spend a day visiting tourist sites in Margaret River
      and also spend three days in Perth with the Margaret River and Hikami students.

Ongoing Training Programmes
•     In the meantime, we will continue our research into finding the most appropriate way to continue our in-
      house 5-year training programme and develop our facilities to sustain this.
•     If we are able to find a suitable way to improve our capital equipment, we aim to take on a young trainee
      from the South West in 2003, most likely in conjunction with the Margaret River High School
      Structured Workplace Learning Programme.
•     In the event we can improve our sustainability, we are also considering taking on a subsidised trainee
      during 2003, most likely in Marketing & Management - Cultural Industries (Level 3), but
      alternatively Arts Administration (Level 2) or Retail Operations (Level 2-3).
•     We also plan to contact the Tourism ITC and the Light Manufacture ITC, to further research
      possible training options from those angles.




    ”The Melting Pot Glass Studio is an extremely supportive and encouraging environment
                to learn and work. Gerry (Reilly) & Margot (Edwards) are an amazing team
          encompassing both creative/technical tuition/training (Gerry) and marketing and
         business development advice (Margot). I am still applying their pearls of wisdom
                           everyday to my career as a developing glass artist and jeweller.
                                        I couldn’t have done it without them!”
                                                                                                  Emma Birkett
                                                                                        Glass Artist & Jeweller
                                                                                 Melting Pot Trainee 1996-1998




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“Over the past four years at The Melting Pot I have found that the relaxed and positive
 work environment has been invaluable when trying to overcome certain obstacles and
    problems related to the glass, giving me time to perfect every skill learnt. Also the
    opportunity to work with a large variety of other glass artists over the years has
              helped open my eyes to different ways, styles and
                                                 inspirations.”
                                                                    Glen Garner, Glass Artist
                                                           Melting Pot Trainee 1998 – present



  “Through The Melting Pot I have had the
 opportunity to train under some
          of Australia’s leading
       Glass Artists . This training has
enabled me to create a career out of doing
something I love and I now look forward to
passing on this knowledge to
 anyone with the passion to
         learn glassblowing.”
                         Rick Cook, Glass Artist
                 Melting Pot Trainee 1994 – 1999




                                                                  Rick Cook, Glass Artist
                                                              at work in The Melting Pot


                “At 16 years I began my traineeship with The Melting Pot glass studio.
 Approximately 2 years of training undertaken. In this time a foundation and wealth of
      knowledge was gained, foreshadowing my career as a glass artist. As for the ever
     growing interest in this field and with the guidance and technical expertise of The
         Melting Pot, its teachers, professionalism and community minded approach,
       I can see only that of a great future to come, shared by
                                                         many.”
                                                                                                17
                                                         Peter Reynolds, Glass Artist/Assistant Glass Blower
                                                                            Melting Pot Trainee 1991 – 1993



Developing Projects - WA Regional Glass
South West
It is often assumed that greater population in the cities will mean greater access for students and general
public in art education. Our experience proves that South West regional glass is actually providing far greater
opportunities for training and public education in this realm, through The Melting Pot Glass Studio and other
programmes, such as the School of Fine Wood at Dwellingup. A
new university is to open across the road from The
Melting Pot in 2004. The regional campuses that make up
Charles Sturt University in NSW (Bathurst, Wagga Wagga and
Abury) are a shining example of Margaret River’s potential here.

Gerry has also had discussions with local Aboriginal
elder Wayne Webb, who in turn is interested in
extending this beading programme to Nyungars in the
South West through his Glass Gallery in Walpole.


Warburton/Walpole
Emerging programme with
indigenous artists
Gerry Reilly has recently returned from setting up a
new glass beading facility at Warburton Aboriginal
Community. Gerry spent a week in July, teaching bead making skills and developing new lines of
marketable art glass for the Warburton Community Cultural Centre where they have previously established
highly successful architectural art glass facilities. Their aim is to develop small art glass objects eg. beads,
jewellery and small fused glass designs to complement their range, and create employment in their
community, particularly for young Aboriginal people whom they can not cater for with the architectural work.

Gerry has been invited to return to Warburton Community to continue teaching at regular intervals, and has
had discussions with the Arts Coordinator about the potential for bringing Warburton artists to The Melting Pot
for further training.




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19
Pilbara
Gerry’s ongoing work with the Pilbara area in both design themes and major exhibition, has
already had positive ongoing outcomes for this extraordinary region in both tourism and cultural initiatives.
The Melting Pot has developed on-going relationships with the major corporations in the Pilbara, particularly
Hamersley Iron, Woodside Petroleum and Wesfarmers Kleenheat, with a potential for sponsorship of future
training initiatives in the Pilbara and at The Melting Pot itself.

Gerry and Wayne Webb have had discussions regarding the development of a touring facility to visit the
Pilbara and South West Aboriginal communities in the future.

Development of the potential for regionally based training initiatives can apply throughout WA. Gerry already
exhibits his work in other regional areas, in particular Albany, Kalgoorlie, Swan Valley and in particular
Bunbury, where The Melting Pot provided studio access for a training workshop by hot glass artist, Jane
Cowie (current president – Ausglass), then artist-in-residence at Bunbury Art Galleries in 1999.


Developing Tourism Partnerships
•   Further development of tourism markets – intrastate/regional, interstate and international.
•   Continuing export and product development.
•   Extension of website and promotional activities.
•   Upgrade of tourist and educational facilities: tiered seating; in-house PA; extension of display area;
    audio-visual aids; translator programme; education kits and training videos. Funded by Melting Pot and
    in partnership with local youth programmes and private sponsorship.
•   Visiting artists programme/workshops (OS and interstate) – funding through ArtsWA and Australia
    Council for the Arts.
•   Organisational and artistic involvement with Ausglass International Glass Conference, January 2003
    (Perth and M/River). Reilly is Workshop Co-ordinator and is running a major glass workshop for the
    conference.
•   Achieve funding to employ MARKETING/PROMOTIONS person for one-year period to reposition us
    in new markets and extensive promotion to the international, interstate and intrastate markets.
•   Extension of existing strong partnerships with regional stakeholders including Tourism South West,
    MICE, Perth Convention Bureau, AMR Tourism Association.
•   Extension of existing strong partnerships with major corporations eg. Leeuwin Winery, Voyager
    Estate, Chateau Xanadu, Evans and Tate, Wesfarmers Kleenheat, Woodside
    Petroleum, Hamersley Iron (Rio Tinto), major Australian and OS commercial galleries.
•   Extension of existing strong partnerships with diverse range of bus tour companies.
•   Information kits on history of glass ie. “Two centuries of glass art”, “Glass art today”.


                      “The Melting Pot has provided a first class educational, cultural and
         experiential opportunity for our international, interstate and intrastate visitors.
            In addition, owners Margot Edwards and Gerry Reilly have been very mindful
               of the needs of the community and exercised the greatest sensitivity when

                                                                                                                20
promoting and exporting their products to the world.”
                                     Pauline McLeod, General Manager
                            Augusta Margaret River Tourism Association




                                                                         21
                            Why should The Melting Pot
                              Glass Studio upgrade?


Our well-established, successful five-year traineeship programme has been funded to
date by the partnership of Gerry Reilly and Margot Edwards – and the support of their
families.

Working with hot glass requires extensive training in many scientific and technical
aspects (including equipment building and maintenance, and chemistry/physics of hot
glass). These are all necessary for glass making and studio practice. By receiving their training full-time in a
hands-on manner, our trainees are taught well beyond the conceptual base offered at WA university-level
training. This makes Melting Pot trainees extremely attractive to other non-training studios and
artists, but few other studios are able to sustain realistic payment of these highly skilled glassmakers.

And so our young glass artists return to the Melting Pot. But we have reached capacity in terms of providing
employment and facilities for our glassmakers who have completed their training.




Most glass studios work on the basis of “access”, whereby each participating artist
accesses the furnace to design and create his/her own artwork (or product). As teams are
generally required, glass workers can pay others, or swap assistance time with each other. In an
environment where there is enough good quality equipment and glass, this is a sustainable method of running
a studio. Glassmakers cover the cost of the gas and glass they use through a sustainable hire rate, which
they then work into the cost price of their artworks.

A funded studio manager looks after timetabling, maintenance and any other issues.
Where a retail gallery is attached to the studio, all participating member artists can then sell their glass through
the gallery, which is sustained through commission on sales.

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23
Extension and upgrading of the studio’s capital equipment will allow these highly trained
young and emerging artists to develop their own designs and markets from their home studio, with the
support of a well patronised gallery and the mentoring of those they trust. The master glass artist in the studio
can give them enough work to sustain them, while they develop new products and markets, and they can
be paid to teach courses and help educate in public workshops.

It is becoming increasingly apparent, that our quality training methods are not
available elsewhere in WA. The Melting Pot fills the training niche created by the closure of the Curtin
Clay and Glass Dept at end of 2001. We have an excellent track record in employment of our trainees ie.
more Melting Pot trainees, than Curtin graduates, in current employment. The studio at Edith Cowan
University (Mt Lawley) operates only as a private facility and offers no training to students.

At present, we receive no financial assistance for our competent training programme.
Other training facilities, such as The Jam Factory in Adelaide, receive substantial funding from the SA
government to sustain a successful postgraduate training programme, which graduates two associates every
two years.

By positioning the Melting Pot, so that it can better attract government funding and
private sponsorship, we can sustain the unique highest quality training we have developed, and evolve
into a studio that not only provides training but also sustainable work practice environment for the young
artists of the South West. We can encourage and foster collaboration, self-development and independence in
art practice, and teach sound business practices to those who will then have the opportunities to teach others.

For the tourist, what is now an exciting place to visit, becomes even more so and the
opportunities to learn in a hands-on manner, extend to visitors as well. Thus, the economic development
opportunities will extend throughout South West community and associated tourism industry.




                                                                                                                    24
Benefits of upgrading equipment

Economic
The upgrading of furnace equipment will give the glass artists the ability to increase
production with larger quantity of better glass (raw materials).

Larger capacity furnaces would increase the production cycle from six to twelve hours, before reloading,
making the system more economically sustainable. This in turn gives an increased capacity to compete
effectively in world art market with high standard of equipment and technical support (international standard).
The increased capacity to undertake orders, larger commissions and special production orders for sponsors,
stakeholders and their clients, with improved quality and quantity of glass, will generate increased
employment of trainees and additional staff.


Environmental
New designs for equipment will include environmentally better use of fuels, with storage and reuse
of waste heat ie. hot water, electricity generation.



Regional
International workshops in this age-old industrial craft which dates back over 2,000 years, will
bring participants and glass enthusiasts and collectors to South West regions for extended periods.
The studio will have improved ability to generate designs commissioned by regional
stakeholders/businesses
eg/ icon/logo work, gifts to conference delegates, and the development of wine industry related glass.
A truly international standard facility will be secured in the South West, as a centre for innovation and
excellence in glassmaking, alongside the government funded wood crafts industry, with the capacity to
combine forces.
The studio will further increase its ability to meet the needs of regional tourism industry regarding promotional
and display material for international campaigns and raise the cultural profile of the South West in new and
established international markets.



Education
Upgrading existing facilities will ensure public and student access to facilities not
otherwise available in WA. Partnership with a working glass studio remains an excellent
option for WA universities whose budgets do not allow them to maintain hot glass
studios, and one is opening on our doorstep in 2004.

The Melting Pot can offer practical skill training and technical support to supplement already established
university theoretical curriculum and can build on established partnerships, and form new ones, with the huge
East Asian market for student training.
Better equipment and improved glass will drastically increase the studio’s ability to contract other Australian
and overseas glassmakers for training workshops and in areas outside our expertise, as needed.



                                                                                                                    25
The increase in facilities will allow the training/workshop activities to run in tandem with other glassmaking
activities, and access to furnaces to be on a 12-hour/day basis (day and night blowing). This in turn, is a
much better utilisation of gas (the major fuel source and biggest overhead).


Industry Support
The Melting Pot has an excellent track record for providing youth employment. There is
huge potential to be a showcase/model for our suppliers and industry partners through signage and
acknowledgement and there are local economic development benefits throughout South West for food
industries, accommodation, hardware, equipment, freight, fuel supplies etc.

Most importantly, the opportunity to attract funding to The Melting Pot would allow the studio to became even
more of a showcase for WA technology, innovation and design, and for responsible community
development, training support and mentoring of our future generations.




               “Gerry Reilly is a Glass Artist of exceptional ability and has been recognised
           internationally for his work. As a result, he is much sought after as a mentor and
             guide to not only the apprentice glassblower but also those who are looking to
          improve their craft. Gerry’s ability to instill a love of the craft in his ‘students’ is
          remarkable, the certain gift of a master. Clearly, it is this kind of skill and ability
                                                                                             which makes
             The Melting Pot outstanding as a venue for training.”
                                                                                        Dr Barbara Maidment
                                                                    Margaret River Business Enterprise Centre




                                                                                                                 26
Intellectual Capital & Export Markets
By the application of their combined creative talents, intellectual capital and acquired
arts business management, Gerry Reilly and Margot Edwards have built an extraordinary studio,
which has become a respected business in the local community, with a high profile in West Australia and a
keen national and international trade, during the last ten years.

In the last 12 months Gerry has completed a design commission to create some 40 designs for a Chinese
glass manufacturer, which are being marketed in Europe and America. In difficult economic times for small
business and artists in general, he was able to support the studio over winter by exporting his designs.

Reilly has been offered work elsewhere, in particular Bali and Singapore, to work, train and design for both
corporate and educational facilities. As such offers include substantially reduced costs, they remain a
possibility, but we would prefer to offer the Partnerships in Training programme in South West Australia and
support and develop youth training and education in WA, integrated with the design, manufacture and export
of WA hand blown art glass.


        “The Shire of Augusta-Margaret River supports The Melting Pot Glass Studio in its
 efforts to extend its operations to further encourage international cultural tourists and
   artisans to a professional and talented artistic showcase in the Margaret River region.
   The Melting Pot has supported youth training and community projects over the years.
                              We support their efforts to continue to grow, particularly in
                                           expanding the cultural & artistic
                                            reputation of our community.”
                                                                            Ian Bodill, Chief Executive Office
                                                                             Shire of Augusta-Margaret River




                                                                                                                 27
                                 Funding Required

Gerry Reilly and Margot Edwards have contributed a vast amount of personal resources
into training emerging and established craftspeople over the last decade. The time has
come for outside help to make sure this can continue and grow to inspire and delight a
developing market.


1990-2002 Daily running costs and funding for trainees
                 – self generated and on-going by sale of art glass.

1990-1996 Capital equipment – built, designed and funded in-house.

                 All major equipment is maintained and developed in-house by
                 Reilly and associate Greg Chilcott, with staff and trainees. Funded in-house.

2002             Increased demand putting excessive pressure on old equipment.

                 Maintenance (downtime) more frequent thus interrupting studio schedules.

                 New larger furnace needed to increase capacity to melt glass, required to meet increased
                 demand, and to ensure future of studio is sustainable (more efficient use of fuels with new
                 technologies) and internationally competitive and attractive. This environment thus
                 maximising training potential.


Cost Estimates
Minimum Upgrade – furnace only                                         $50,000
Budget available on request.

Full upgrade – furnace plus ancillary                                             $200,000
This will take equipment to full international standard and accredited training capacity.
Budget available on request.



  “Profit margins within artistic endeavors such as glass blowing studios are often not as
           comfortable as we would like, thus making it difficult to expand the business,
                                     not to mention providing opportunities for others…
                          I applaud The Melting Pot for their initiative.”
                                                                                      Dr Barbara Maidment
                                                                  Margaret River Business Enterprise Centre


                                                                                                               28
APPENDIX 1 – Key Partners

Gerry Reilly

Glass Artist
Hot glass designer and artist, Gerry Reilly produces a
decorative handmade range of art glass designs from his Melting Pot
Glass Studio in Margaret River, South Western WA.

After training in Ceramics and Glass at Monash University and
University of Tasmania between 1976 and 1981, Gerry worked in
glass studios in Tasmania and South Australia, including the Jam
Factory Craft Workshop and private studios with glass and clay,
before setting up The Melting Pot in 1990.

An active member of Ausglass (Australian Association of Glass
Artists), Gerry has attended many conferences and workshops,
including an advanced workshop in Venetian Glassblowing
techniques with Venetian glass master, Lino Tagliapietra,
in NZ. He is currently Workshop Coordinator on the
committee of the 13th Ausglass International Conference, to be held in Perth and Margaret
River in January 2003.

Gerry has been a Fellow of the Crafts Council of WA since 1995. He was awarded Craftmark
accreditation and became an affiliate of Craft Australia in 1999.

He has a strong commitment to training young emerging glass artists, who develop their
skills while assisting him produce his glass artworks. These are sought after world-wide as
diplomatic gifts, for corporate collections and for exhibition in galleries.


Collections
His artworks are represented in public and private collections around Australia and overseas, including:

•   Ebeltoft Glasmuseum Denmark
•   Queensland State Collection
•   University of South Australia Collection
•   University of Tasmania Collection
•   Gippsland & Latrobe Valley Regional Art Galleries Collections
•   Holmes a Court Collection
•   Leeuwin Estate.
                                                                                                           29
30
Commissions
Commissions include corporate gifts and interior designed pieces for clients as varied as:

•   Prime Minister’s Dept CHOGM diplomatic gifts 2001-2002
•   Sultan of Brunei
•   King of Thailand and Danish Ambassador’s collection
•   Masters Surf Trophies 1993-2002
•   Hamersley Iron and Woodside Petroleum international corporate gifts.



Recent Exhibitions & Awards
Recent exhibitions & awards of note include:

•   Festival of Perth FLAIR Exhibition – Council House, Perth 2002
•   Festival of Sydney Craft Australia/ David Jones Exhibition 2002
•   Gallery VC Exhibition, Paddington 2002
•   Federation of Centenary Exhibition – Tasmania 2001
•   Solo exhibition – Pilbara Gallery of Fine Art, Karratha 2001
•   Ausglass Members Exhibition, Melbourne 2001
•   Feature Artist – Create 2000 Aust. Contemporary Design Expo, Sydney
•   Australia’s Best – VIP Olympic Invitation Exhibition, Sydney 2000
•   Wilyabrup Art Acquisition Award 2000
•   The Royal Visit invitation exhibition, Busselton 2000.



Recent Bibliography
•   Masters of their Craft – Tradition and Innovation in the Australian Contemporary Decorative Arts by
    Noris Ioannou;
•   Cape to Cape by Bob Litchfield;
•   Margaret River, Australian Wine Regions, R. Ian Lloyd Productions.




                                                                                                          31
Margot Edwards

Artist/Business Manager
Margot Edwards has been involved as Business Manager of The Melting Pot Glass Studio, as a
partner alongside her husband Gerry Reilly, since its inception in 1990. In the past eleven years, she has
played a major role in the development, administration, marketing and personnel management of this diverse
production and training arts studio.

Margot is also an established storyteller, playwright and journalist, having completed her BA
Communications (Print) in 1985, followed by the NIDA Playwrights Studio in 1988. She has
developed and worked in countless community based visual and performing arts projects, throughout the
South West. She is one of the few artists and facilitators who can truly cross the visual arts/performing arts
bridge and she is sought after as a mentor to young people in the arts through her work with the Melting Pot,
MR Arts Council and MR Theatre Group. She specialises in collaborative, community-based arts training
projects and has recently worked in collaboration with the South West indigenous community.

Margot received an Australia Day Award in the AMR Shire Community Service Award for dedication and
contribution to the Arts in 1995, which followed on from The Melting Pot Glass Studio Community Service
Award for Excellence in Arts and Culture in 1993. Margot has also served on the AMR Shire Cultural
Policy development committee; as the South West Representative on the Goldfields Arts Forum with the
Statewide Providers in 1995; and as a member of the Working Party/Funding Panel – Community Arts
Network Integrated Cultural Policy Project in 1996. In October 2002, she will attend the National Regional
Arts Conference in Albury NSW, having received Country Arts WA funding to assist her travel fares.




                                                                                                                 32
APPENDIX 2


Melting Pot
Tutoring Staff
Gerry Reilly
Recognised glass artist/collaborator within international glass community; experienced mentor/trainer of
emerging glass artists; mentor and training supervisor for Structured Workplace Learning Programme. Co-
founder of Melting Pot Glass Studio.


Greg Chilcott
Mentor – 5 years for Youth Outreach Programme. Aust Student Traineeship Foundation – course in
Workplace Training Category 1 – designed for Structured Workplace Learning. Glassblowing training –
retrained at Melting Pot after selling his own engineering business in Perth and resettling in South West six
years ago. Is developing specialised line of work. As a qualified engineer, Greg’s training has focused not
only on developing skills in hot glass production, but also in transferring his engineering training into building
and maintenance of hot glass equipment and tools. Greg in highly involved in managing and teaching the
maintenance programme at The Melting Pot.

Margot Edwards
Business manager/partner/co-founder in The Melting Pot Glass Studio. Margot has been involved in The
Melting Pot since its inception. Her work in the arts takes in both visual and performing arts in the South
West region, for which she is widely recognised for her work in youth education and training. Her
BA/Communications has also led her into casual lecturing at ECU Bunbury in journalism, giving her a
sound knowledge and understanding of tertiary training principles. She works closely with youth trainees at
The Melting Pot as mentor and personnel manager, amongst her diverse duties in the business.

Rick Cook
As senior glassblower at The Melting Pot, Rick Cook is involved in training of youth trainees at the furnace,
on a daily basis. As the first Melting Pot trainee to complete the five-year training, he has extensive
knowledge of many aspects of glassblowing in the studio and specialises in teaching the precision hand
skills required in glass making. Rick was awarded the Worsley Alumina Award in 2002 at Bunbury Art
Galleries South West Survey Exhibition Awards.

Glen Garner
In the fifth year of his traineeship, Glen Garner is in prime position to benefit from opportunities which allow
him to teach youth trainees. As has been the case for Rick Cook, his own training will be further extended
and his on-going professional development nurtured. Glen has a flair for design, excellent hand skills, and
communicates in an open and friendly manner. The need to deal with the general public on a daily basis has
further extended his ability for public relations, marketing and sales.



                                                                                                                     33
APPENDIX 3 – YOUTH EMPLOYMENT

Successful Melting Pot Trainees

Sophia Emmett
After two years at The Melting Pot, Sophie was accepted into the Jam Factory Glass training workshops
and is now working as a glass artist in Victoria and overseas. She is currently completing post-grad studies
at Monash University in Melbourne. (Jam Factory only accepts graduate trainees – Sophie’s training at The
Melting Pot allowed an exception.)

Rick Cook
Completed five years training at The Melting Pot in 1999. He is currently still employed at the studio. Rick
spent a year in England after finishing his training, worked in various studios there and then returned to
Melting Pot. His excellent hand skills and precision to detail mean he is now also in demand as assistant by
glass artists in Perth, and is now developing his own glass art. Rick won the Worsley Alumina Award in
last year’s South West Survey Exhibition at Bunbury Art Galleries.

Glen Garner
Four years into his training at Melting Pot. Glen came to us on the Structured Workplace Learning
Programme from Margaret River Senior High School (then graduated as the top student in this programme in
Year 12) and entered our training programme directly from school. The first year of his employment was
under a Small Business Traineeship with the South West Apprentice and Traineeship Company in Bunbury.
Glen completed a three-month secondment at Keith Rowe’s studio in the Blue Mountains, NSW (winter
2001), and is also in demand in Perth as a highly trained glassworker.

Pete Reynolds
Started his training here at age 16, has since worked in various studios including Colin Heaney’s in Byron
Bay NSW, and is now producing his own range of glass. Pete has just returned to working at The Melting
Pot some 10 years later, and is the first young and emerging artist to truly “access” Melting Pot facilities to
develop his own lines of glass wares. Pete is currently involved in helping to developing access
opportunities at the studio.

Emma Birkett
One year’s training in glass bead making. Emma is now established in her own glass bead/jewellery-
making business in Fremantle and continues strong association with The Melting Pot.

Misty Davis
Trained at The Melting Pot from age 15, has since worked in Keith Rowe’s studio in Blue Mountains, and
other South West studios.

Matt Bryce
Came to Melting Pot traineeship on completion of cold glass apprenticeship with Pilkingtons. Completed two
years of his training. Won South West Survey glass award and was nominated as WA Youth of the
Year. Continued some work in other South West and Queensland studios.
                                                                                                                  34
Amanda Dent
WA jeweller – part-time training at furnace and in glass techniques over one year.

Rebecca Wallace
Has recently left to take up employment as glass assistant at Gordon Studios, Victoria. Was in second year
of part-time training at Melting Pot, after being introduced to glass in Japan.

Curtin University Students
Matt Tchan, Verity Burley, Tegan Epsom – individual work experience over summer breaks. Varying stints.
Some other holiday work and mentoring. Kerry Williams, formerly of Curtin University Clay and Glass
Dept, often brought groups of students through to show an example of a working professional studio.

Structured Workplace Learning Programme
Margaret River High School
Regular two week full-time placements of Year 11-12 students over the past six years, including assessment
by Gerry Reilly. (See Glen Garner.)

Other Trainees
Numerous others have reached various levels of training before leaving the glass industry on realising
working in hot glass was not for them (natural attrition!)




                                                                                                             35
APPENDIX 4 - Ausglass International Conference


Perth, Fremantle
Margaret River
January 2003                                                        Sponsored by


The 13th Biannual Ausglass (Australian Association of Glass Artists Ltd) International Conference will be
held, for the first time, in Western Australia from 13-16 January 2003, with six pre-conference workshops
from 6-12 January, and two post-conference workshops.

The Ausglass Conference 2003 is the event in glass art in the Southern Hemisphere. It has the theme of
Isolation and Collaboration and how these issues affect the practice of glass artists and craftspeople as
makers, artists and theorists within the Art and Studio Glass Movement.

Gerry Reilly has been a member of Ausglass since 1981 and is now the Workshop Coordinator for the 13th
international conference. As the only South West member of the management committee for this conference,
Gerry has been able to ensure that a component of this conference is held in the South West, which for 15
years has been the region where the majority of WA glass producing studios are located.

The conventions and conferences market has become increasingly recognised as a major contributor to the
West Australian economy and community.

One of the key workshops in the design, sculpting and manipulation of ‘hot glass’1, is to
be held at The Melting Pot in Margaret River, to be run by internationally recognised
glass artist and educator, Gerry King, in partnership with Gerry Reilly. This presents an
excellent opportunity for our facility to be recognised as a training studio on an international level; exposed
during the conference to the Australian and international art glass industry and community of
collectors/curators; and offers a great opportunity for the focus of attention on our WA regional studio. This
Margaret River arm of the conference offers plenty of hot glass, workshops, exhibitions and symposiums,
plus multiple tourism sites.

We acknowledge the need to develop our facilities in order to realise this opportunity. The better our facilities,
the larger the workshop group(s) and thus more delegates will stay in the area. This will provide an excellent
opportunity to launch our extended training programme and access studio facilities, which will, in turn, be
used by national and international glass artists to produce their own work, initially in a celebratory
collaborative “blow-off”. ‘Access studios’ 2are a developing market as only a small percentage of artists
develop their own hot-glass facilities and is thus, a expanding international market for the South West region
of WA.

In showcasing our studio facilities and training programme to international delegates, we will open up
opportunities for ongoing international artist-led workshops, symposiums and art glass production. This will

1   “hot glass” – melted and shaped at the furnace, as opposed to fused, slumped or cold worked glass.
2   “access studio” – the hiring on an hourly, daily or weekly rate of our facilities by another artist.
                                                                                                                     36
add a new layer of excellence to the diverse cultural tapestry of the South West, and will enhance WA’s
reputation as a centre of excellence in training in the international glass community.

To find out more about the conference or Ausglass go to www.ausglass.org.au




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