Fire, Breath and the Next Generation

The quiet renaissance of New Zealand studio glass  
As featured in Nourish Magazine 2026 Sprng edition

Down a long driveway in an unassuming corner of Avondale, Auckland, a furnace glows at more than 1,100 degrees. Molten glass gathers on the end of a blowpipe like liquid honey before it is coaxed, turned and shaped with remarkable precision. The atmosphere is surprisingly relaxed. There is easy conversation, the familiar banter of old friends, and an effortless rhythm born of years spent working together around the furnace.

On the day we visit, Luke Jacomb is joined by fellow glassblowers Matthew Hall and Mark Anderson. Together they move instinctively around the workshop, each knowing exactly when to step in. To an outsider it looks almost effortless. In reality, every movement has been honed over years of practice. While each artist pursues their own creative vision, every piece is realised through collaboration.

Glassblowing is one of the world's oldest crafts and, remarkably, very little has changed in more than 2,000 years. While technology continues to transform almost every creative industry, glass still depends on fire, timing and human skill. There are no shortcuts. As Luke puts it, "It takes 30 years of practice for 40 minutes of blowing."

For Jacomb, glass isn't simply a medium — it's in his DNA.

A second-generation New Zealand glass artist, Luke grew up surrounded by furnaces, colour experiments and molten crystal. His father, John Croucher, was not only a pioneer of New Zealand's studio glass movement but also recognised internationally as one of the world's leading authorities on coloured glass. Through Gaffer Glass, founded in Auckland in 1993, his innovations continue to influence artists around the world today.

Working alongside his father from his teenage years, Luke learnt the craft almost by osmosis. Those early lessons evolved into Luke Jacomb Studios in 2006 and, after eight years working and teaching in the United States, he returned home to establish one of New Zealand's leading contemporary glass studios.

"One of the best things my dad ever taught me was not to be overwhelmed by how long it takes to get good at something. He'd say, 'Just do one thing each day, and before you know it you've done 365 things in a year. Some days you'll do fifty things, some days you'll only do one—but keep showing up.' I've carried that philosophy with me throughout my life, and it's taken me on an incredible journey.”says Luke.

Today, his work appears in significant collections including the Corning Museum of Glass in New York, the Ebeltoft Glass Museum in Denmark and the New Orleans Museum of Art. Yet despite international recognition, his focus remains firmly on making and mentoring here in New Zealand.

Luke continues to push the boundaries of contemporary glass, creating technically accomplished fine art sculptures ranging from his striking waka paddles to the fantastical alchemical vessels of his recent Hesperides collection, inspired by mythology and the natural world. Alongside these sculptural works, he continues to experiment with new colour palettes, sustainable New Zealand-made glass and innovative casting techniques.

Nearby, the casting workshop hums with activity. Led by Luke's wife, Tara, a dedicated team hand-casts the crystal native birds and flowers that have become synonymous with the Luke Jacomb Studio name. From tūī and kingfishers to tiny tomtits, every piece is individually cast, coloured and hand-finished in a palette of more than 45 mesmerising shades.

What makes Luke's workshop particularly special, however, isn't only the work being created — it's the people.

Many of the artists working alongside Luke have been lifelong friends, some dating back to school days. Renowned New Zealand glass artists including Simon Lewis Wards, Matthew Hall, Simon Ward, Mark Anderson, Scott Dunster and Mike Alley have shared that journey, learning, collaborating and growing alongside him. It reflects a culture first fostered by John Croucher and later strengthened by Luke himself — one built on generosity, mentorship and the belief that knowledge is there to be shared.

The next generation is already taking shape. Luke has spent the past 13 years mentoring Kate Mitchell, who has gone on to establish herself as a respected glass artist in her own right, and has recently welcomed apprentice Taika into the hotshop to begin the same long journey of learning beside the furnace.

In an age of automation and artificial intelligence, there is something quietly reassuring about watching an ancient craft continue almost unchanged.

Perhaps the true legacy of this workshop lies not only in the remarkable glass artworks it produces, but in the friendships forged, the quiet generosity of shared knowledge and successes, and the willingness to encourage the next generation.