Noel Hart was born in 1955 in Geelong, Australia. He received his Diploma of Fine Art and Design in 1975 from the Gordon Institute of Technology also in Geelong, Australia.
In 1989, Noel Hart retreated to the dense rainforest in Australia with the desire to be outnumbered by other species, especially the birds which now provide the stimulus and inspiration for his current work in blown glass. His profound interest in the diversity of animal and plant life in the surrounding environment is reflected in the versatile range of his work. His passion and involvement in photography, theater and painting over the years has created an added dimension of design and form to his view of art.
Noel Hart’s first experience with glass came from an invitation from well known Australian glass artist, Colin Heaney to work as a designer, photographer and sculpture fabricator in Heaney’s glass blowing facility. Since then he has created many of his own unique designs and techniques and has built on the accumulated knowledge of over 2,000 years of glass blowing. His methods to some artists are somewhat unorthodox and have a sort of idiosyncratic approach to the medium. It is because of his diversified art background that he is able to envision ways of working with glass that no other artist has attempted.
His current collection of glass pieces, “Parrots of the World” are predominantly based on the colors and textures of the plumage of brightly colored parrots. They incorporate juxtaposed sections of spiraling, swirling opaque glass than resembles brightly colored length of fabric twisted tightly and then frozen in a single surface. From his painting experiments, Hart has discovered that is possible to simulate brush like gestures in the swirls of glass, the best examples of this being in the pieces where one sees through a transparent layer into an opaque layer beneath.
Hart’s blown glass sculptures begin as a thick bubble of clear glass on the end of a blowpipe and are followed by multiple layers of glass trails and fritted glass, additional layers of clear glass and plunged into an optic mold to create texture and rhythmic patterns. The glass in a molten state is stretched and twisted onto the clear bubble much like making a gesture with a loaded brush. The finished forms will have been flattened and squared up to give two vaguely two dimensional surfaces like a traditional painting.