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Iridescence is the one word that embodies the over-arching effect of Weaver’s art. The colours effortlessly glow and radiate, allowing for the central focus of a piece to have more impact.

Weaver’s art is almost an optical illusion, where colours are silhouetted. An ethereal land- or seascape is generated by her layering of oil pastel. This medium is not successfully understood by most artists.

Susan’s work shows her clear experimentation of the oil pastel medium. This experimentation is culminated in her discovery of a unique technique, which allows her to extract an inner colour, texture and strength.

A CHG represented artist, Susan’s style has developed in more recent times. This improvement of style has seen new colours introduced to her palette alongside an increased complexity of its use and tone. I often wonder how oil pastel can be further developed or enhanced, however, over time, Weaver has managed to pull-off a master stroke with the medium. Susan herself says her ‘technique is continually evolving’.

Weaver is an under-rated artist, and I staunchly believe we will see her art as a finalist in competitions very soon. If one is seeking an artist with a distinctive style and technique, that only minimally parallels other artists’ works, Weaver will meet your needs. Her application of colour offers the viewer an in-depth sense of richness, something that is always pleasurable to experience.


Susan Weaver has developed a technique which sets her apart from other artists and technicians – the layering of the oil pastel or oil on canvas! The luminosity achieved is both powerful and alluring, compelling the viewer to look inside or into the depths of her paintings.

When they are exposed to more light either natural or incandescent they reveal the shadows, structures and emotion within. They offer an impact, with a rich colouring and tone that both radiates and attracts the eye from any angle!


Glassborow’s design and imagination is superior!
Call it intuitive, imaginative, creative.

Steve says much of the impetus for a sculpture comes from a phrase or sentence that comes to mind after an observation. This triggers the development of an idea and allows for the design of a sculpture to commence. First by preparing a sketch, refining the plan, and assessing the design for scale and proportion.

Art deco and beauty, particularly the feminine, has been a constant influence in Glassborow’s art along with the element of science fiction. He is fascinated in creating a figurative form and aligning it with another era. The finished product is edgy and fascinating to perceive, which leaves the viewer questioning the works’ meaning. It is dazing to behold a design that is both workable and a balanced sculpture.

Steve Glassborow has a preference for bronze, but has also previously explored sculpture in wood, resin and clay. He works closely with his Australian foundry co-workers to achieve the desired outcome.

In more recent years, Glassborow himself has taken over the selection of coloured oxides and the patination process. The outcome is a more sophisticated colour application and surface texture. This selection process is a learnt skill and Glassborow seems to have a natural-born instinct for the process.

We often judge quality through the aesthetic, and Steve’s figurative work is highly relatable and expressive.
Designing a simplistic interpretation is, in reality, far from simple. A seemingly simple piece requires a finesse for the flow of line and composition, which is engendered in the Glassborow style. Once you throw in a suggestion of sensuality and an understated patination, you have the core essence of this designer/sculptor.


Steve Glassborow is a sculptor who presents human figures in a unique way. They are, at the one time, classical and abstract. It is almost as if his figures have chosen their relationship with their environment after an initial struggle to retain their integrity.
"I attempt to bend the traditional attitudes of the figure, while still retaining my view of an aesthetic balance," he says.

Born in Hammersmith in the UK, it was while studying Fine Arts at the Brighton College of Art that he realised he preferred the physicality and structure of sculpture to the discipline of painting. So began his journey with clay, developing the myriad of skills that are required to master sculpturing.

He travelled for four years exhibiting his work and releasing limited edition art deco and art nouveau figurines and lamps, both in the UK and in Australia. In 1983 he became a permanent resident of Australia.

For him, inspiration comes with a pose, an idea or a phrase and a context. In the beginning he develops his ideas on paper and experiments with the framework within which he can place his figures. He creates a scale drawing, from which he builds a clay original. By manipulating the figure in this way, he captures it in a blend of the real and the abstract. Once complete, a silicon rubber mould for the final piece is made, normally in bronze. 

“I'm observing the clay as it changes the human form. I am fascinated with muscles in the physique," he says.


The digital exhibition catalogue containing exhibition introduction, artist statement and CHG Director's statement can be viewed here.



Susan Weaver Art
Susan Weaver Art
Steve Glassborow Art
Steve Glassborow Art
Steve Glassborow Art
Steve Glassborow Art
Steve Glassborow Art
Susan Weaver Art
Susan Weaver Art
Susan Weaver Art
Susan Weaver Art
Susan Weaver Art
Susan Weaver Art