Madeline Prowd

Madeline is an early career Australian artist currently working out of Whanganui/Manawatu. Long fascinated by the technical aspects of pattern making in glass, and the extensive possibilities of cane work, Prowd's new works are part of an ongoing series exploring the intriguing manipulations of light and optics, texture and pattern.

Madeline is an early career Australian artist currently working out of Whanganui/Manawatu, New Zealand. Receiving her BVA from the Australian National University in 09, she then relocated to Adelaide, South Australia to undertake the rigorous 2-year Associate Training Program in the Glass Studio at JamFactory.

Madeline is the current Manager at New Zealand Glassworks, Whanganui.

Madeline has travelled extensively for glass; Madeline was an instructor at Pilchuck Glass School, USA, in 2018. Madeline received the Saxe award from Pilchuck Glass School in 2014, and has been CraTsperson in Residence in 2017 and 2019. Madeline has undertaken residencies in Australia, Germany and Sweden. She has also been teaching assistant to highly regarded international artists; Clare Belfrage (AUS), Nancy Callan (USA), Tobias Mohl (DEN), Brian Corr (USA) and Ben Edols (AUS) in Australia and USA.

Madeline presented her first solo exhibition Refract, Reflect at JamFactory, Gallery 2 in 2018 and exhibited in joint exhibi0on Distorted Trajectories at Craft ACT: Craft + Design Centre in 2020. Madeline most recently exhibited in group show ‘The Gaffers’ at Sabbia Gallery, Australia in Jan/Feb 2024.

Madeline was a selected finalist in the Tom Malone Prize in 2021, the Fuse Glass Prize in 2020, the Klaus Moje Glass Award in 2019 and has been a selected finalist in The Waterhouse Natural Science Art Prize four times, Madeline received a Judges Commendation for her entry into the 2018 Adelaide Parklands Art Prize.

Madeline states: Long fascinated by the technical aspects of pattern making in glass, and the extensive possibilities of cane work, my new works are part of an ongoing series exploring the intriguing manipulations of light and optics, texture and pattern.

This new work showcases my departure from recreating literal representations of patterns in nature to instead focusing on pattern itself as the subject of my investigations.

Exploiting the unique optical qualities of the material, I aim to display an absorbing landscape of tactile pattern.