I had begun my casting experiments using natural forms with no particular end in mind.  I was pouring plaster directly over the organic object and then burning the object out of the mold in the kiln and I was accumulating an  odd assortment of cast glass plant and animal parts.  At one point, I tried attaching some of them to blown shapes...and with that everything changed.  As soon as I added a pair of feet to a sphere, it got up and walked around the room. I was astounded.  Suddenly, this abstract shape became a character; it had mysteriously acquired a personality, a sense of humour or a tragic past.   I found myself becoming attached to these pieces, wanting to discover their history.  It was as if while walking down a hall I passed a door I had never before noticed, slightly ajar.  I gave the door a little nudge and it opened and I wandered in.  It turned out to be a vast chamber, a room I never even knew existed in the house of glass.                                                                                                                                                                      - excerpt from talk given while guest artist at ACAD, 2012

           Entranced by the glor- ious possibilities of glass, Thorkelsson explores the physicality of the medium and in turn expands the viewer's expectations of glass in her highly involved and technically demanding cast pieces. Allowing her ideology to be led by the medium, rather than imposing it upon the glass, she feels removed from concept- ual art practice,  instead preferring to refer to                 her production as craftbased.

             - Helen Delacretaz,            the WAG, 2004