A “gentle change” is occurring in Galia Amsel’s glass. It’s been in process for some while. From 2004, when she moved to New Zealand, narratives of landscape and natural event emerged, adding expressive and atmospheric qualities to the triangulated, geometric shapes and abstract substance existing.

Amsel’s visual language is also substantially design and form based, with the drama of space, motion, fluid colour and varied mass integral. Her works vibrate with light and the numerous and varied finishing techniques used come to mean important individualised things in each work. The incomplete open circle and the certainty of line begin talking. Her works have architectural presence and become ritualistic objects.

The slow evolution in her work means Amsel is combining the old and new together. This progressive, sequential development of her work strengthens and broadens it. To the observational quality existing, Amsel is beginning to add meaning. The new Inner Spirit series hints at an alternative direction and a more personal content. The metaphoric, symbolism of an hourglass shape occupies the centre, seeming to rise up and down like bubbles in an oil lamp. The technical complexity of the layering and fusing, of slumping and bending processes, and casting is hidden by a sense of spontaneity.

White Squall (2010), West Wind Drift (2010), reference and capture weather phenomenon in choreography of motion and moment. Surf 9 (2011) bends; delivering a sliced wave about to fall. Floe (2011) and Antarctic Drift 3 (2008) speak of ice flow and reveal a representational impulse.

The ambiguously titled Blew (2011) introduces a remarkable new form. Each rising end enters the air blade-like, seeming to twist, crossover and change position.