Tim came to glass from a ceramics background, a foundation that informs his bold sense of design and distinctive approach to surface manipulation. These qualities underpin the works for which he has gained an international reputation. His pieces are blown or shaped in the hotshop, then meticulously cut, carved and ground on the lathe using diamond and stone wheels, resulting in surfaces that feel both sculptural and refined.
Exhibiting nationally and internationally, Tim’s artworks have been acquired by major public collections, including the Corning Museum of Glass (USA), Museum of Glass, Tacoma (USA), National Gallery of Australia, Art Gallery of South Australia, National Gallery of Victoria, Art Gallery of Western Australia and the Wagga Wagga National Art Glass Collection.
Across his 25-year career, Tim’s innovative and striking practice has been widely recognised. Key achievements include the 2006 Rakow Commission from the Corning Museum of Glass—he was only the second Australian to receive this prestigious award. In 2018 he was selected for the Adelaide Biennial of Australian Art, Divided Worlds, at the Art Gallery of South Australia, and in 2022 he was awarded the Tom Malone Prize from the Art Gallery of Western Australia.
Tim has recently been involved in establishing a new glass hotshop and coldworking studio in suburban Adelaide and is looking forward to integrating this exceptional facility into the next chapter of his practice.
Drawing and image making in popular culture is something I look at a lot. It’s a big part of my practice. In my work the reproduction of three-dimensional objects in a two- dimensional form is both contradictory and curious. But also there is this ‘other space’ located somewhere between two-dimensions and three-dimensions. I find this rendering and depiction of objects endlessly fascinating.
I draw everyday, working an idea, a vessel, an object, an image over and over. Drawing and making then overlap, distilling the idea.
The pieces in this exhibition are a look into the questions that arise around seeing and knowing.
Tim Edwards, March 2026
Tim Edwards has a remarkable ability to create transcendent glass objects that display great technical prowess while offering something more elusive. The sheer physicality of the work is underpinned by Tim’s “deep and enduring connection to the vessel- domestic, humble, distilled.” His skill and design facility create the beautiful objects which are the prism through which Tim explores his ideas about seeing and perception and the slippage between seeing and knowing, which create the off balance moments between the viewer and the object, producing visual and emotional engagement. The title of the exhibition, “Possible Object” conveys this in-between state of something in a stage of transformation. A ‘not yet zone’ of endless possibilities. Rather than a passive encounter between viewer and object these vessels invite the viewer to share the joy and delight in uncertainty and curiosity.
Robyn Stacey, Australian artist, March 2026
