Latest News
LAST UPDATED / JULY 2025
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We are heading into Art prize season, and it can be an exhausting time for artists in the last six months of the year, keeping up with opportunities, entries, rejections and exhibition openings. The Australian Ceramics Association's Triennale - Wedge - is happening in October, and I am grateful to have the opportunity to attend this year (funded by Create NSW), to assist with the What's Happening in Australian Ceramics? presentation with Anne Sherman (VIC). We are both hopeful that this research will lead into greater insight to help find ways to support the ceramics sector in Australia and create industry resilience. More on this to come. In the meantime, if you are involved in the ceramics sector and interested in completing the survey, please reach out. On a personal level, I am quietly working away on a body of work - Blue Period Pebbling - (iteration no 1, on your right), combining textiles with ceramics processes to create objects of beauty and resilience. In a time when cruelty is glamorized in popular culture, care work is rendered invisible and undervalued, and images of war and devastation saturate our everyday lives, a sense of helplessness can feel inescapable. Blue Period Pebbling is my quiet act of resistance—a modest yet deliberate gesture that seeks beauty in tenderness, in care, and in the overlooked kindnesses that persist despite it all. Maybe you will see these works in some art prizes, maybe you won't, but I'll keep working away quietly on them in my studio because at the moment they are keeping me grounded and reminding me to appreciate each day as it comes. |
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As an artist who works with clay, my practice is inherently tied up in the creation of ‘things.’ These things, once fired, have an enduring nature which transcends time and space; but they are also connected to social, political, and cultural ideologies present in the moment of their creation. Through my art I am exploring how objects in space convey their connection to these systems and ideologies.
Both clay and yarn are imperative to the themes I am conveying, they are pertinent to the modes of cultural production traditionally undertaken by women. I am interested in how these two materials interact and transform when combined. Yarn is a soft material, when knitted or crocheted it can make a myriad of forms; porcelain slip is a liquid, and when absorbed by yarn, it takes on the yarn's form. Through the leather hard stage, the clay allows this form to be moulded and manipulated. Once fired, it becomes hard, cold, and translucent. Through this materiality and process my work explores concepts of time, labour, value and transformation, and the role that gender plays in the construction of these ideologies. It is through the language of art and craft that I am exploring my experiences of time, value, place, space, and sex/gender – an investigation of woman 'as object' and woman as 'creator of objects'. |
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Exhibitions
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DECADE: INNER WEST SALON SHOW / 2023
Scratch Art Space NAS POSTGRADUATE SHOW / 2023
National Art School DUST TO TABLE: MACARTHUR CERAMICS GROUP/2022
Campbelltown Arts Centre FISHER'S GHOST ART AWARD / 2022
Finalist |
FISHER'S GHOST ART AWARD / 2021
Finalist FISHER'S GHOST ART AWARD / 2020
Finalist FISHER'S GHOST ART AWARD / 2019
Finalist FISHER'S GHOST ART AWARD / 2018
Finalist |
