The 13th biennial conference of the Australian Association of Glass Artists is on and if you're not a delegate nor able to attend workshops you needn't feel left out; there's the excellent Ausglass Fringe Programme of exhibitions around Fremantle and Perth, east to York and South to the Margaret River region. We started in Freo.

CONFLUX in the Main Gallery at the Fremantle Arts Centre displays individual works by James McMurtrie (Victoria) and Tim Shaw (South Australia) and two pieces produced in collaboration with Sydney based artist Jim Randall (NSW). The collaborative exhibits involve leaf, vase and bowl forms fused together in a sculptural manner. I'm sure they prove a triumph for hot glass work and creative consultation but the finished outcome is discordant.

McMurtrie presents his series Glendaloch Towers inspired by stone constructions in Ireland built during the 5th and 6th centuries. His tall tapered vessels capture the strength and texture of the monumental stone originals but Tower #4 reminds us they are made from glass, as it sits on a clear base and wears a clear stopper. McMurtrie also offers three Sudan Granary works that replicate huge storage containers from Africa. Once again we see how the artist can produce glass that looks like soil based construction material. However for those who prefer the fluid transparent quality of the medium, the artist's blown vases in warm red and orange, will be most appreciated for their elongated elegance.

Shaw displays a variety of styles. His blown flat Red Storm Vases seem to celebrate the joy of the craft while the richness of Black Storm Vase has its own dignity. Meanwhile Djinni Bottle & Stopper offers a sense of fantasy and magic. However Shaw's slash & cut works provide the most interest. A square built purple and black bottle and a round orange and yellow vase both have holes ripped from their frosted forms to suggests both the durability and vulnerability of glass.

Durability and vulnerability of bottles are displayed on Bathers Beach near the Round House where Cat Sivertsen (UK) presents her mixed media installation AIRING IT. Here a collection of antique bottles is half buried in the sand as if they were washed up on the beach. They are guarded by two hundred white linen tea towels hung on a line to flap in the wind. The installation works on a variety of levels including art, history, glass making, migrations and transportation. The raised writing on the bottles tell us where they originated so we know these 'vessels' came from afar. So too the ships, with their flapping sails, that landed on this beach long ago. These vessels carried convicts, punished perhaps for stealing washing off lines, and settlers with their linen and apothecary bottles.

Walk across the sand to Kidogo Arthouse and enjoy two separate exhibitions. In the smaller room CONNECTING ELEMENTS display the work of Antonia Lindell and Lucinda Robertson. Lindell produces articulate animals and body jewellery by joining hot glass links with bolts and wing nuts. Knowing you can adjust the parts to affect a minimal change in the pose adds to the charm of these little link animals. Robertson's finely blown objects include bowls and platters, in bright vermilion, orange and amethyst hues. Her small penguin cream pitchers in black, misty white and clear glass are funky and functional.

In Kidogo's large gallery you'll find a feast of funky, functional, elegance and kitsch. Each display in the PRODUCTION GLASS EXHIBITION has it's own appeal in form, colour, style and method. The best part is, if the one you want is sold you can order another. Keep an eye out for Tricia Allen's (Vic) cheeky 'square' platters, one wears a heart, the other a flower. Quite a contrast to the sheer sophistication of Marcus Dillon & Philip Stokes round dish of clear and amber coloured glass with an organic linear detail. We did appreciate Marc Grunseit (NSW) reference to Ned Kelly, for its concept, colour and riveting detail. But it was Anne Clifton's (WA) stunning set of perfume bottles that won the prize, kindly donated by Olssons, for 'the best commercially viable range of production glass'.  It would have been a difficult job on the part of the judges. Every piece is a stunner. Catch these shows if you can.