Title: LOCALS ONLY Hydria
Dimensions: 27 x 18 x 18cm
Medium: Terracotta with stoneware glazes
LOCALS ONLY Hydria primarily aims to convey the neccessary harmonising of cultures (in art and otherwise) for new ideas and positive change to exist. The form references a traditional Greek hydria (water vessel), however it is created in Australia, for an entirely alternative purpose to its origin. The inlaid glaze detail of LOCALS ONLY graffitied on the surface alludes to surf culture, as well as highlighting the borrowed referential value between the contrasts – classic Greek form, 21st Century surf culture and contemporary art.
Title: Elemental Entanglement: Three Spheres
Dimensions: 35 x 35 x 14 cm collectively
Medium: “Porcelain, cobalt, rare earth oxide glazes”
The trio of spherically based works are realised through material encounters in the medium of ceramics. The agency of the fluid materials, through gesture, chance and movement, allows the elemental to be brought to the fore and captured in the husk-like vessels and small shifted sphere. The viewer is invited to contemplate ideas of fragility and ephemerality through the subtle material explorations which visually reference the expanse of the cosmos, the body and the agency of matter simultaneously.
Anna Battersby is a contemporary artist whose ceramics and sculptural installations are a mixture of abstraction, symbolism and materiality. She recently graduated from Sydney College of the Arts (Sydney University) with a Bachelor of Visual Arts (First Class Honours).
Title: Not Quite Straight
Dimensions: 2x about 10x10x11 cm
Medium: porcelain and glaze
Dimensions: 26cmx7cm each
Medium: Slip cast stoneware
Title: Building Blocks 1
Dimensions: H 11 x W13 x D10 (variable)
My Building Blocks series is concerned with the tension and synergies between the urban and natural environments
Title: Our Golden Age
Dimensions: 40cm x 30cm x 13cm
Medium: Porcelain, Copper, Cast Brass and Cement
A study of Australian culture.
Title: At the precipice
Dimensions: 45cm Wide 45cm Tall 14cm Depp
Medium: Porcelain, unglazed
David Helmers assembles skeletal pods of porcelain. His ethereal work speaks both of fragility and strength in union. A mastery of material allows him creative freedom, showing awareness of restrictions and to revel in possibilities. In making, intuition and improvisation dictates being present and in viewing his work, David wishes to set conceptual language aside and sit with his work. He believes in subordinating the need to intellectualise, in favour of the emotional wellbeing of the viewer, foregrounding being present and empowering the ability to face any upheavals that occur.
Title: White planter #12
Dimensions: 25cm h. x 58cm l. x 32cm w.
Medium: ceramic and brass
Unglazed white ceramic with brass pin additions
fired to 1120 c
Dimensions: 37 H x 33 W x 20 D cms
Medium: BRT clay, slip from found clay, glaze
Title: Gumleaf Bowl
Dimensions: diameter 13.5cm , 8.5cm height
Medium: Porcelain (Keane’s high fire Lumina)
Working with Lumina porcelain is such joy, easy to throw with, glazed inside only – so the outside decoration (gumleafs) can shine. It’s a fine porcelain, translucent. Fired in an electric kiln it is a beautiful “”warm white”” finish. Bringing the australian bush into ones home.
Title: Shadowplay X
Dimensions: 13 x 26 x 15 cm (approx. total assembled as 4 pieces)
Medium: Southern Ice porcelain and midfire clay
Eloise Rankine is represented by Utopia Art Sydney
Dimensions: 18 x 12 (cm)
Medium: Southern Ice porcelain
“It’s about a dialogue between inside and outside, real world and dreaming.
I like using architectural elements like openings, door, ladder and window… letting viewers eye and thoughts travel through the space around the sculpture.”
Title: Memory Shrine #1
Dimensions: Form: 23 (h) x 16(w) x 16 (d) and Vessel : 9 (h) x 7 (diameter)
Medium: Stoneware Ceramic, oxides, glazes, laser print decals from own imagery.
This work represents a continuing exploration into ideas of ritual and memory. Inspired by the shrine culture found in many countries, I am interested in the act of remembrance. I hope with my work to create a moment of stillness, an opportunity for reflection.
Shrines are like little houses for lost souls from Spirited Away by Miyazaki.
Title: Equilibrium 01-03
Dimensions: H110, W55, D55
Medium: Ceramics, Sagger Fired
The artwork EQUILIBRIUM exist of 3 independent Totems.
They are expressing a ‘wobbly balance’, thus reflecting the life phase I am in at the moment…
(The Totems need to be handled with care. The one with the white base has a loose piece in the bottom part.)
Title: Human Rock Formations
Dimensions: 22cm H x 12cm D
“This work plays within the boundaries of what is hand-made and natural. The natural looking rock and the slouching vase are both hand-crafted. Clay, as a raw material is natural but once the hands are used to form the clay and is fired to a controlled temperature and rate, it is no longer natural no matter how form appears.”
Dimensions: 21x28x14 cm
Medium: “Glazed stoneware, copper oxide
The ceramic organisms I make lie somewhere between the animal and vegetable kingdoms. Juxtaposing the hard ceramic surface with soft biological form, I reference the unseemly folds and textures of the body and present imperfect bodies as objects of desire. This wall piece depicts a codependent relationship between two uncanny organisms, one sitting within the other, fitting together in non-gendered symbiosis.
Dimensions: 21 x 40 x 13.5
Medium: Saggar Fired Clay
“Jade Court-Gold is a Sydney based artist working predominately with clay and a recent graduate of National Art School. Her recent work explores bodily thrown shapes and saggar firing, whilst addressing the politics of body and nature. She combines elements of the natural world with that of the manufactured/industrialised, making small series of works which are fired together to create saggar impressions that link the works together, creating connections that speak of possibility. In this way, Jade’s intent is to question contemporary society’s romanticising, distancing and consequent commodification of nature and to seek an alternative.”
Title: Get it out of my head
Dimensions: 55cm x 17cmw
Get it out of my head was created in a time of great stress and trial during a break-up. The work isn’t about feeling woesome or angsty but rather an opportunity to apply the chaos to something tangible so that I could see it outside of myself, to detach that disorder and view it objectively. I don’t know whether it worked or not.
Title: Mutata Terrae
Dimensions: 24cm x 9cm
Medium: Mid-fired, glaze and iron sulphate wash outside, iron resinate lustre inside.
Title: Tide Line
Dimensions: 70cm h x 22cm d x 22cm w
Medium: White Raku clay
Tide Line is the result of a 4 week 7 hour a day clay meditation (196 hours of much needed focus). In October last year, after experiencing something that shattered me, I sat and built this 70cm vessel with thousands of individual pieces of clay. I kept building until I felt the tide of emotions had changed … until I felt I had put the pieces of myself back together.
Title: Flicker of Light
Dimensions: h22 x w6.5 x d 6.5 cm
Medium: Porcelain Hand rolled and textured coil built porcelain. Unglazed.
Title: Name Unknown
Dimensions: 7 cm H x 16cm W x12 cm D
Medium: White Stoneware. Black Slipware, Slipcast Stoneware, slab formed stoneware. Body stains, oxides, fired to cone 10 Oxidation.
Name Unknown. Age Ten Years Old. Situation Critical. Location Manus Island. Reason for Transfer. Extreme Suicide Risk. Situation Critical. Transfer Denied. Age TEN years old. Name Unknown. Transfer denied. AGE TEN YEARS OLD. NAME UNKNOWN. TRANSFER DENIED. SITUATION CRITICAL.
Title: Night will form its own path
Dimensions: 42cm, width 44cm, 25cm deep.
Medium: porcelain & stoneware, ceramic stains, raw minerals and copper lustre.
Gold Coast ceramic artist Larissa Warren has her own unique approach to clay. With a passion for combining porcelain with various stoneware clays and colour, she attempts to evoke memories from her family’s past by embracing the wonderful interplay of natural elements reacting with her purposely constructed marks.
Title: Pass it on
Dimensions: 50x280x280 (cm)
Medium: WOOD-FIRED STONEWARE WITH NATURAL ASH GLAZE & SHINO BRUSHMARK
“Around our family dinner table food is shared over excited conversation and the laughter of
three generations; platters are passed, table manners are taught, stories are told and
lessons are handed down. This platter was created in Japan, fired in an anagama kiln in
upstate New York, then brought home to Australia to find its place at our family table.”
Dimensions: 14h x 13w x 11.5d cm
Medium: Bone china, glass, glaze
“A chemical waste environment, an apocalyptic vision, the skeletal insect has emerged as the living dead. The insect embodies the living dead because of the saturated meaning and process behind the ‘burn out’. It is the remnant form that remains after plant matter is coated in clay and incinerated. This form is ghostly and shell-like, simultaneously evoking traces of a life and loss. This vision flips the common idea that insects are inconsequential to human life, depicting them as the ‘soul’ survivors of apocalyptic environmental destruction. Rather than taking a pessimistic outlook my sculpture, expresses some hope through survival.”
Title: Au galop
Dimensions: L 45 cm X H 33 cm
“When I start creating a piece, there is no idea beforehand, but there are gestures ,improvisation,
perseverance and trust in my instinct instead. All my personal ghosts are there: prehistoric men,
crazy painters, far west cow-boys… There is a very primitive need for colour as well. In my memory
are the children that I like to watch while they paint, spirited and focused at the same time. There is play, and freedom.”
Dimensions: Variable (total 22x14x60)
Medium: Stoneware, glazes, oxides, engobe, lino prints, decals
“The mountains which form Canberra’s backdrop, part of its surrounds, are the focus of my work. I
explore the simple majesty of the piles of granite tors which cluster on the mountaintops. I want to investigate the changes in colour and texture in the environment and the way it is influenced by the weather, seasons and the passage of time. Inspired by the contrasts in line and form, the weather that smoothes these rocks, and the natural forces that cleave them, my work is a metaphorical record of these events that reveals the interconnectedness of all the elements of the natural world as well as our interaction with it. This work also considers our interaction with the natural world and impacts on it.”
Title: And me
Dimensions: H 15 X W 16 X D 14cm
Medium: Ceramic (stoneware and found clay), slip, oxide, glaze
Minaal Lawn is an Indian-Australian artist based in Brunswick and Wheatsheaf, VIC. She appreciates fashion, contemporary art, the native Australian landscape and pots.
Her work traverses these interests while drawing on her cultural heritage.
And me is made using clay coils, one form open, the other closed, in a fine balance of tension between opposites. Minaal’s use of found clay from her rural surrounds lends a sense of place to her work. Her connection to colour rooted in the elusive abstract Tantric art from Rajasthan is contemporized in the painterly surface, which is created through layering slips, oxides and glaze. Together they coalesce in a cross-cultural narrative.
Title: Moment of Glory
Dimensions: 12cm (diameter) 7.5-9cm (height, differnt for each bowl)
Medium: Coloured porcelain (Nerikomi)
A set of 4 Nerikomi bowls with high stands. Each bowl represents a blooming flower on it’s stem. The image came from my childhood gardening of morning glories which blossomed the first thing in the morning and were gone by noon. 40-50 different colours and hues are used in each bowl with all different patterns including the stands. Each stand have different thickness and height.
Title: Eve II
Dimensions: H76cm W 53cm D34cm
Medium: Ceramic Earthenware
“My work explores the special connection between women and clay, we have always had a relationship to ceramics. Paleolithic fingerprints captured in the very first vessels ever made, all belong to women. Culturally, women and ceramics have always been aligned with the domestic. It is with the vessel that I explore this relationship, through their swollen belly’s, dimpled curves and stretch mark narratives I want to celebrate this connection.”
Title: My Girl Lollipop
Dimensions: 17 x 11 x 11 cm
Medium: “porcelain paperclay, colored slips, glaze”
“My Girl Lollipop references the 1950’s upholstery fabric that dominated the domestic interiors of my childhood. Patches of clay are cut and ‘stitched’ together, handled as if they were woven cloth.”
Dimensions: 22x13x10.5 cm
Dimensions: 32cm x 22cm x 22cm
“Pattie is a 2017GCVA graduate from the Victorian College of the Arts. Her ceramic works push the boundaries of the ceramics medium as she explores the challenges that she sees we are facing in everyday society. With over 20 years of experience in seeking social policy reform in Australia, Pattie explores fragility in our communities from different perspectives. This complex organic egg like structure references how our communities are organised and our links with earlier generations and our environment. Pattie looks beyond the structural form itself and invites the viewer to do the same – to look inside, through and toward the reflections created by the ‘mans’ architecture.”
Title: A cushion for the weight of your days
Dimensions: L= 16cm, W= 13cm, H= 7cm
Medium: Earthenware, underglaze, lustre
Dimensions: h. 24cm, w. 12.5cm, d. 15cm
Medium: Lumina porcelain, nerikomi
“I have been a plein-air oil painter for a while. This has allowed me to listen and observe this Australian land that constantly asks to be in dialogue and relationship.
Last year I began using clay for the first time and have become totally obsessed. I love giving bodily form and colour to feelings and ideas about this subject.
I also love the real sense of community that most ceramicists develop.
Thank you for the opportunity.”
Philippa A Taylor
Dimensions: Height 160 mm, Width 150 mm
Medium: Porcelain & stoneware, wheelthrown, inlay decoration.
“Play 2018. Inspired by the simple play of early childhood and the tactile nature of clay in its purest form.”
Title: Till We Have Faces
Medium: Stoneware, glaze, shells
This work is part of a series of an installation of 20 similar sized and shaped works. It can shown as one or as a grouping depending on the space.
Title: Pirate Dog
Dimensions: 14 cm high x 10 wide
I would like to use this art form to express my love for the world around me.
I have a strong love and passion for my rescue dogs Pirate and Everest and have created a functional piece of pottery inspired by Pirate my first rescue dog.
Title: Richter pots
Dimensions: Approx. 13 x 10cm (each)
Title: White and Black Dreaming
Dimensions: 56 x 38 x 18 cm
Medium: Stoneware paper clay, glaze, oxides and gold leaf
The concepts of my current body of work stem from the
painting of Anthony Martin Fernando, Australian aboriginal activism, racism and equality. The work explores the Australian invasion /
colonisation, indigenous culture and man’s inhumanity to man.
Ri Van Veen
Title: Spiral Splash
Medium: Raku clay, oxides, crawling glaze, stoneware firing
Ri Van Veen
Title: Growth and Decay
Medium: “Raku Clay, glaze and firing”
Title: Self Portrait
Medium: Jingdezhen porcelain
Assembled high pressure slip cast Jingdezhen porcelain, fired to 1300 degrees celsius.
Title: Object/Non Object 2018
Dimensions: variable, approximate overall size 10 x 24 x 18 cm
Medium: Porcelain, stoneware and terracotta
“Four domestic sized clay objects are placed as a group, challenging our preconceived perceptions of what ceramics can be. A cup can act as a cup, or a pedestal for an anamorphic object. Another support lies on it’s side or does it represent a cotton reel, while a tiny pinched bird watches on. Each piece quietly questioning the relationship between objects.”
Title: An Intimate Collection
Dimensions: Candlestick H 21.5 cm W 5.5cm D 10.5cm, Bud Vase H 18.5cm W 8cm D 8cm, Mantle Clock H 20cm W 22cm D 8cm
Medium: Porcelain Paperclay
“As an inadvertent collector, I reflect on the relationships with accumulated objects that signify meaningful moments in the lives of my grown-up children.
The act of collecting is deeply personal and the meaning of the collection is defined in the context of the relationships between the objects and the owner.
An Intimate Collection explores the preciousness and reverence that are bestowed on objects. the work reflects on aspects of the artist’s personal identity as a ‘mother’ and interrogates the societal expectations associated with the construction of this gendered role.”
Dimensions: 16cm High 10cm wide
Medium: Stoneware, urushi lacquer and 24kt gold”
“The piece has been thrown, altered, broken and then repaired using traditional kintsugi techniques – flour, urushi lacquer, tonoko and 24kt gold powder. I use no modern epoxy products in my work.”
Title: Stream of Knowledge
Medium: Wood fired stoneware with coloured slip decoration
“I explore the effect of the natural landscape on our daily lives and how we respond to different environments. The genesis of this work was in the making of art in response to the landscape of the Flinders Ranges, in remote South Australia. It represents the flow of energies from generation to generation, and the passing on of knowledge into the future.”
Medium: Keanes Lumina Porcelain, raffia & silk wrapped linen.
“Roots is a symbolic representation of connection to my culture and country. As my artistic practice grows I find myself naturally delving into ideation of my country of birth, South Africa. My sense of identity and belonging is deeply rooted in the african sun and arid land and stark landscapes.”
Title: Arcanum reconnect- objectIV
Dimensions: 16.5cm x 16cm x 8.5cm
Medium: porcelain and plexigalss
“CHAPTER ONE: ARCANUM
This new body of work continues my explorations into liminal spaces and moments of transformation, inspired by my research on decay and regrowth. I have been looking at natures’ ability to transform and create new life out of the decaying and dying. I use the materiality of porcelain to express the opposing qualities of strength and fragility, and permanence and impermanence simultaneously, aiming for my work to sit in a transitional zone. This gives them the sense of growth and movement that is so intrinsic to all nature. Their ambiguity allows them to transcend time, encapsulating past, present and potential future forms in nature to discuss natures’ ability to adapt and persevere.”