Visionaries

VISIONARIES
2019 CRAFT ACT MEMBERS EXHIBITION
Craft ACT Craft + Design Centre
12 SEPTEMBER – 26 OCTOBER 2019

Craft ACT: Craft + Design Centre is supported by the
ACT Government, the Visual Arts and Craft Strategy –
an initiative of the Australian State and Territory Governments,
and the Australia Council for the Arts – the
Australian Government’s arts funding and advisory
body.
CRAFT ACT CRAFT + DESIGN CENTRE
Tues–Fri 10am–5pm
Saturdays 12–4pm
Level 1, North Building, 180 London
Circuit,
Canberra ACT Australia
+61 2 6262 9333
www.craftact.org.au
Front cover: Phoebe Porter, Elements of Balance, 2019.
Photo: Art Atelier

VISIONARIES
2019 CRAFT ACT MEMBERS EXHIBITION
Abbey Jamieson | Alison Jackson | Andres Caycedo | Angela Bakker | Annie Trevillian
Avi Amesbury | Barbara Rogers | Belinda Toll | Benedict Laffan | Bev Hogg | Bic Tieu
Cassandra Layne | Cathy Franzi | Chelsea Lemon | Daniel Lorrimer | Daniel Margules
Daniel Venables | Debra Jurss | Dianne Firth | Elizabeth Paterson | Elliot Bastianon
Emilie Patteson | Fran Romano | Gilbert Riedelbauch | Hannah Gason | Harriet
Schwarzrock | Isabelle Mackay-Sim | Janet DeBoos | Jennifer Kemarre Martiniello
Jennifer Robertson | Jeremy Brown | Jo Victoria | Jochen Heinzmann | John White
Judi Elliott | Julie Bradley | Julie Pennington | Keiko Amenomori-Schmeisser | Leonie
Andrews | Lia Tajcnar | Lisa Cahill | Louis Grant | Luna Ryan | Madisyn Zabel | Marcia
Holden | Margaret Brown | Mark Eliott | Melanie Olde | Monique Van Nieuwland
Moraig McKenna | Naomi Zouwer | Pamela Irving | Phoebe Porter | René Linssen
Robyn Campbell | Rolf Barfoed | Rozlyn de Bussey | Ruby Berry | Ruth Allen | Ruth
Hingston | Sally Blake | Sarah Bourke | Sarit Cohen | Sebastian Davies | Sharon Peoples
Sophi Suttor | Sue Hewat | Tania Vrancic | Tom Skeehan | Valerie Kirk | Ximena
Natanya Briceño | Zoe Brand
Craft ACT Craft + Design Centre
12 SEPTEMBER – 26 OCTOBER 2019

exhibition essay: Rebecca Edwards
When Thomas More wrote of Utopia in
1516, he was describing a fictionalised
place that was free of hunger, conflict
and unhappiness. In penning this term
he invented a concept that would
puzzle and inspire future artists,
writers, philosophers and theorists for
hundreds of years. Derived from the
Greek words ou-topos and eu-topos,
meaning ‘no place’ and ‘good place’,
the word was, linguistically, a pun that
questioned whether a perfect world
could ever actually exist. Over fivehundred
years later, this concept has
been and remains the motivating vision
of dreamers and revolutionaries to
create a better future.
This year’s Craft ACT Members
exhibition - titled Visionaries - and
the Design Canberra festival themed
around Utopia, take their cues from
this contradictory notion. Utopian
ideals have long been a touchstone
of Design methodology. Whether on
a micro or macro level, innovative
designers and makers throughout
history have sought to imagine and
reimagine better ways of living. These
concepts have particular resonance
within our local urban environment.
Canberra itself was conceived on
utopian ideals in 1913, with Walter
Burley Griffin and Marion Mahony
Griffin’s original plans seeking to lay
the foundations for the most liveable
and perfect of cities. Yet, as we know
today, the Griffin’s ideal vision of
Canberra was never fully realized,
partially derailed by bureaucratic
intervention, two World Wars and the
Depression.
Over a century later, the optimism of
Utopia continues to be out of reach. To
many, the vision of a utopian paradise
is an unattainable fantasy. We find
ourselves in a period of crisis - news
and social media are dominated by
stories of famine, poverty, natural
disaster and global environmental
catastrophe. Of prejudice, intolerance,
political turmoil, power imbalance,
inequality and conflict between those
who focus on our differences rather
than our similarities.
Yet, as we continue to drift apart, it
is galvanising to witness the ways in
which we yearn and are still able to
come together, make connections and
form communities. The resurgence
of contemporary craft in recent years
reflects this, with increasing demand
for the handmade - from the objects
we use and adorn our homes with, to
the clothes we wear and even the food

we eat - a symptom of our desire for
closeness and simplicity in the digital
age.
Craft ACT: Craft + Design Centre is one
of Australia’s longest running visual
arts membership organisations, and
has been supporting and sustained
by a vibrant membership base since
its inception. The annual membership
exhibition has played an important
role in this, highlighting the continuous
evolution of contemporary craft
practice as well as the ongoing
technical and material experimentation
of the diverse range of artists that
make up the membership body.
This year’s exhibition Visionaries,
includes almost 80 artists who are
accomplished representatives of a
diverse range of media, from glass,
textile and ceramic artists to those
who innovate through their work in
paper, metal, and wood. Those who
craft furniture, collect and assemble
found objects, collage, weave,
embroider, pin-prick, and weld.
exchange, and collaboration and act
as an anchor point between people
across time. They are both teachers
and mentors, students and mentees.
They represent a cross section of
practices, with long established makers
presented alongside emerging artists
whose creative voices are only just
developing.
Although Utopia itself will forever
represent an aspirational rather
than tangible vision of the future,
Visionaries is a fitting title for an
exhibition that celebrates connection
and the richness, openness and
diversity that is alive and well in
contemporary Australian craft.
Rebecca Edwards is the Sid and Fiona
Myer Curator of Ceramics and Design at
National Gallery of Australia
Most importantly however, this
group of exhibiting artists reflects the
strength of the craft community, and
the enduring ability of craft to produce
an inclusive space for connection,

ABBEY JAMIESON
Abbey Jamieson is a Canberra based artist who works predominately with clay. Through
the processes of pinching and soda firing she creates ceramic objects with themes of
comfort and connection. In 2018 she graduated from the Australian National University
with her Honours in a Bachelor of Visual Arts, majoring in Ceramics.
Blip is a series of ceramic cups and worry stones that are experiencing a temporary
obstacle. The blips in these pieces are a tangible representation of the intangible
troubles of mental illness. As with people, these cups are still functional however they do
require more resolve and determination to use.
Abbey Jamieson, Blip, 2018,
soda fired stonewear, dimensions variable,
Photo: Courtesy of the artist
$175

ALISON JACKSON
Alison Jackson is a Canberra based Gold and Silversmith. She has established a highly
successful arts practice since graduating with Honours from the Gold and Silversmithing
workshop at the ANU School of Art in 2008.
Alison’s work focuses on tableware and wearables. Her small run production work is well
recognised within the craft and design industry and has asserted itself as a successful
creative business.
Alison has exhibited her one-off work throughout Australia and internationally, including
at Milan Design Week. She has been the recipient of many notable awards and grants
and is held in public and private collections.
Alison Jackson, Wagtail Tea Caddies, 2018
Brass, paitinated, varied dimensions,
Photo: Courtesy of the artist.
$1200, $1450, $1900

ANDRES CAYCEDO
Andres has been living in Canberra since 2014. He considers the capital city as an
important center of design nationally, and a fertile ground to nurture his creative
practice. Caycedo’s career spans around 3 decades, working in different media. It was
with ceramics that he felt a unique and everlasting connection.
This work is the product of an ongoing research with Islamic tiling patterns, which
explores its visual properties, interconnections, and geometrical characteristics. In this
particular display I’m using a bowtie shape, in which the linear relief on the surface
weaves together form and pattern.
Andres Caycedo, Tiling 2, 2019,
ceramics stonewear, 50 x 2000 x 300
Photo: Craft ACT.
$300

ANGELA BAKKER
Angela Bakker is a silversmith working primarily with precious and non-precious metals.
Angela makes both functional and non-functional objects and jewellery, with a focus on
recycling materials as much as practicable. Most recently she has been working with repurposing
objects and jewellery she has inherited or found.
Angela Bakker, Shadows, brass, 15 x 30cm
Photo: Courtesy of the artist
$600

ANNIE TREVILLIAN
Annie Trevillian is an independent artist and designer with strong technical skills and
experience in textiles design and printing including digital technologies. She has earned
recognition for a place in the history and practice of printed textiles in Canberra from her
involvement in all aspects of textile printing both as a practitioner and as an educator.
Annie draws and paints from the natural environment. Her hometown of Canberra
has provided much of the inspiration for her work. She then scans and manipulates
the images into designs for textiles and paper. Annie’s screen prints and digital designs
have been incorporated into clothing, homewares, architectural spaces and everything
inbetween.
Annie Trevillian, A Glimpse of Shine Dome, 2018
digital print on cotton, 40 x 38 x12cm.
Photo: Courtesy of the artist.
$750

AVI AMESBURY
Avi Amesbury works on objects that embody notions of ‘place’ and uses materials found
from specific sites in the landscape- collecting clays, sand, wood-ash and volcanic rock
ash. These materials are incorporated into her porcelain structures to express ideas
around identity and belonging.
In 2017 Avi was the international Artist-in-Residence at the Benyamini Contemporary
Ceramics Centre in Tel Aviv. She traveled extensively in Israel visiting the ancient cities of
Akko, Haifa and Jerusalem, and collected soils and clays from Israel’s northern borders,
to the Sea of Galilee, and from the Negev Desert in the south.
Colours of Israel presented in the Visionaries exhibition is from a new body of work
created using the materials collected during the residency. The work explores the soft
hues of the Israeli landscape and cultural references to examine a religious narrative to
place and belonging.
Avi Amesbury, From the Negev I, 2019,
porcelain, sand from the Negev Desert
Israel, 180 x 200 x 200mm.
Photo: Courtesy of the artist
$320

BARBARA ROGERS
Rogers has re-imagined urban living, the gritty nature of city life while exploring both
pattern and texture. This piece is based on a high-rise, or is it an aerial view? In our urban
centres, constant construction is juxtaposed against that of deconstruction.
Traditional resist dye techniques are reworked into unique textile artworks. While
initially appearing quite precise, the unpredictable nature of the shibori processes
employed means that final patterns are always subtly varied and rhythms constantly
disrupted in a process of adding and subtracting, masking and revealing.
Rogers has exhibited both nationally and internationally over the past 20 years and has
work in a number of collections.
Barbara Rogers, Inhabit, 2019, silk, cotton, silk
organza, silk thread, de-coloured, azoic dyes,
205 x 47cm. Photo: Courtesy of the artist.
$1,950

BELINDA TOLL
Belinda Toll completed a Bachelor of Visual Arts with first class Honours in Glass in 2009
at the Australian National University School of Art in Canberra. She was awarded two
prizes on completion of her degree - a two-month residency at the Canberra Glassworks
and the inaugural National Student Art Glass Prize. The National Student Art Glass Prize
awarded master classes in August and September 2010 at North Lands Creative Glass,
Scotland and following this, Toll commenced her residency at the Canberra Glassworks in
October 2010.
In 2011 Toll worked as a teaching assistant to Benjamin Moore and Adam Holzinger at the
Pilchuck Glass School in Seattle, USA.
Toll works as a glassblowing and cold working assistant to many established glass artists
from Canberra and interstate.
Belinda Toll, Seagrass 2, 2019, blown glass,
25 x 27 x 11mm. Photo: Adam McGrath.
$1,500

BENEDICT LAFFAN
Benedict Laffan is a designer and maker of fine solid wood furniture, selected cabinetry
and objects who has lived and worked in his craft in both Sweden and Canberra Australia.
Ben completed studies at the ANU School of Art Wood workshop in 2002 and has
continuously practiced and worked in industry in both countries which has given him the
strongest foundation in launching his new practice Detailed Wood in 2018.
“I have chosen Box of Stories as my submission for the Craft ACT members exhibition
2019. I wanted to express that traditional joinery techniques are still very much a part
of my work at present and will be in the future. I am also excited to explore the use of
new techniques and materials as I have done so with the use of coloured casting resin
and customised brass hardware. I also believe that craft, design and beautiful material
is important to peoples lives in the enhancement of their environments and through
functionality.”
“I chose to use very special repurposed old growth Australian Blackwood which was once
a part of the architectural furniture at Old Parliament house. This piece allows the wood
to continue acquiring and telling stories in another stage of its life while showing that the
finest material is valuable and not as accessible as it once was.”
Benedict Laffan, Box of Stories, 2019, recycled
blackwood, cedar, epoxy resin, brass, 500 x
250 x 250 mm. Photos: Courtesy of the artist.
POA

BEV HOGG
PEDRO QUIEROS and QUALUP BELLS belong to a series of seafaring long bill corella
bandits that grew out a residency at the Vancouver Arts Centre in Albany, on the
southern coast of West Australia. This, combined with cockie counting in the ACT where
I recorded, at a particular site the number of cockatoo species and roosting birds overs a
week developed into a exhibition called “Pillage and Plumage”.
It tells of the complex reality of our relationship to nature. Adoration, reliance and
exploitation, exploring concepts of our history to land practises, identity, displacement
and adaption.
Bev Hogg, Pedro Quieros Long Bill Corella
Bandit, 2019, clay, slip, underglaze, 600 x 340
x 300mm. Photo: Brenton McGeachie
$880

BIC TIEU
Bic Tieu is an academic at the University of NSW with a contemporary jewellery/object
design practice. She is also a PhD research candidature at the Australian National
University. Bic’s exhibition work is very much influenced by the sensibility of the
aesthetics and diaspora in Asian art. Her works investigates these visual languages and
esoteric ideas within the parameters of contemporary jewellery and objects to reference
transnational influences and identity. Bic engages with interdisciplinary approach often
synthesizing traditional art methods and digital technology combined with Japanese
lacquer application to create forms and surfaces that merge these ideas together.
Bic Tieu, Moving Repositories, 2019
sterling silver, 6.6 x 7 x 7.4 cm.
Photo: Courtesy of the artist.
$1,500

CASSANDRA LAYNE
Specialising in kiln formed glass, Canberra based artist, Cassandra, uses abstract carvings
and patterns to demonstrate how light and surface can be manipulated to create a
deception of distance, depth and size. Her works are highly textured and encourage
the viewer to move in close. This is helped by the use of bold contrasting colours. The
contrast plays on the eyes natural ability to sustain a consistent image. The carved
imagery punches through the patterning on top giving a look of depth and layer.
The glass may appear denser, further away or three-dimensional. Observing the work
for an extended period of time causes the clear-cut circles to blur and the surrounding
pattern to lose its stability and become more convincingly false. Only by touching the
surface of the panel is the illusion completely broken and the work completes its journey
into a comprehensively solid object.
Cassandra Layne, Deep Space, 2017, bullseye
glass, tasmanian oak, LEDS, 53.5 x 35 x 5.5cm.
Photo Credit: Kerstin Styche
$1,100

CATHY FRANZI
Cathy Franzi is a Canberra-based ceramic artist who graduated with a Master of Visual
Arts at ANU School of Art in 2010, receiving the Nelson Nichols Scholarship in Ceramics.
From 2011 to 2015 she was a PhD candidate at the ANU School of Art, undertaking
research into the representation of Australian flora on the ceramic vessel and how
botanical and environmental knowledge might be expressed. She holds a Bachelor of
Science from the University of Sydney, and this background informs the focus to her art
practice. Franzi has travelled extensively, working in the ceramics field in Ireland, the UK
and New Zealand. In 2013, Canberra’s centenary year, a work from her solo exhibition
‘Painting the Hills of Canberra’ was included in the Canberra Centenary Time Capsule.
Her work is held in public collections including Canberra Museum and Gallery, the ACT
Legislative Assembly Art Collection and Manly Art Gallery and Museum. She has been
the recipient of numerous awards, most recently in the 2016 Biennial North Queensland
Ceramic Awards.
Cathy Franzi, Murrumbidgee Bossiaea (a vision
hopefuly), 2019, porcelain, wheel-thrown and
altered, sgraffito. Photo: Art Atelier.
$1,800
Represented by Beaver Galleries

CHELSEA LEMON
Chelsea Lemon is a Canberra based designer and maker who works predominately with
timber. Lemon aims to create visual, physical, and emotional connections between the
user and her work. Many of her pieces include foliage and plant themes, mixed with
interactivity and decorative woodworking technique ‘parquetry’.
In 2015 she graduated from the Australian National University with her Honours in
a Bachelor of Visual Arts, majoring in Furniture Design. Chelsea received the 2014
Designcraft: Craft + Design People’s Choice Award for her Triangulation Chair, and was
also awarded the Craft ACT Exhibition Award to showcase her chair in the 2015 Emerging
Contemporaries exhibition.
Chelsea Lemon, Native Sprouts, 2019
parquetry and assorted timbers, varied dimensions
Photo: Courtesy of the artist.
$360, $390, $410

DANIEL LORRIMER
Dan Lorrimer is a sculptor and designer living and working in Canberra. His practice
practice incorporates sculpture and object design. At the heart of his practice is a deep
understanding of materials and processes with an emphasis on creating new ways to
utilise these technologies in the fields of art and design. His work illustrates a keen sense
of exploration through making.
Dan explores notions of movement, energy, solidity and illusion through minimalist
sculptural forms, often located between the artificial and natural world.
Dan commenced his studies at the ANU School of Art in 2005, graduating in 2009.
During this time he also began working with many established local artists and designers
including Richard Whitley, Mathew Curtis and F!NK & Co. Through this direct contact
with industry leaders, Dan has developed a passion for creating, spanning both art and
product design.
Daniel Lorrimer, Unstable Lines, 2018,
blackened steel, 70 x 340 x 235 mm.
Photo: Courtesy of the artist.
$2,200

DANIEL MARGULES
Daniel Margules (Sparks & Dust) is a Canberra based designer and maker specialising
in handcrafted furniture, turning steel and timber into contemporary design. Having a
background in the trades, he has developed skills in welding and carpentry to become a
self-taught furniture maker with a growing passion for design. Daniel believes in creating
quality handmade designs that are functional and durable yet stylish and modern. The
clean lines and quality materials in his pieces can add a modern aesthetic to a space.
Every element in the finished piece is handmade by Daniel. Proudly handmade in
Canberra.
Made from Ash timber and powdercoated steel, the Kodo Hat and Coat Stand is a
sophisticated statement piece that is both stylish and functional. This scandi-inspired
design incorporates a powdercoated steel shelf with a variety of hooks to provide plenty
of storage space.
Daniel Margules, Kodo Hat and Coat Stand,
2019, ash timber and powdercoated steel,
1950 x 450 x 450mm. Photo credit: Tim Bean
$900

DANIEL VENABLES
Daniel Venables graduated with Honours from the ANU School of Art + Design Glass
Workshop in 2017. His graduating works presented a subjective perspective to the viewer
by utilising the optical and refractive properties of blown glass in order to distort the
viewer’s vision.
“I trained as a glassblower throughout my time at the Australian National University, and
during my second year of study I also started carving spoons from green wood. After a
certain point, I needed a specialised knife. Rather than buying one (as would probably
have been logical), I decided to make my own. This is where my love of knifemaking
started. I strive to make excellent quality tools that will last a lifetime. The majority of
the timber I use for my handles is reclaimed - either from local suppliers, or timber I have
salvaged myself.”
Daniel Venables, 180mm Hand Forged Chef’s
Knife, 2019, 1095 steel, birds eye maple and
jarrah, 180 x 45mm (blade), 135mm total
length. Photo: Courtesy of the artist.
$560

DEBRA JURSS
I investigate the impact that natural environments can have on our emotions.
Surge expresses the emotions triggered by watching deep ocean water in a physical
location that is my own personal utopia. Powerful ocean surges have their beginnings
far beneath the surface, with only a small part of the movement visible to the landbased
observer. Deep ocean has been a persistent thread throughout my life, and my
visions of what the future of my art and my life can be often come in these environment.
The work was created when I was reaching out for the remembered sense of calm and
contemplation, of refuge and security, that I had in that time and space, when I was
allowing only a small fraction of my emotions to be visible to others.
Debra Jurss, Surge, 2018, glass hot formed,
kiln formed, cold worked and hand polished,
17 x 60 x 7cm, Photo: Adam McGrath.
$2,900

DIANNE FIRTH
Although educated as a landscape architect Dianne had early training with textiles at
Newcastle Technical College and Glasgow Art School and was involved with textiles for
fashion, theatre costume and interiors. She discovered quilting after seeing a collection
of Amish quilts at the National Gallery of Victoria in the early 1980s and undertaking a
masterclass with American art quilter Nancy Crow.
Her works have been selected for major juried international and national exhibitions,
publications and for public and private collections. Since 2001 she has been one of
six artists in the Canberra-based tACTile group with the objective of expanding the
boundaries of the art quilt and mounting exhibitions to travel.
When Australia became a federation in 1901 a capital city was written into the
Constitution, but where it would be was not. One of the criteria for the future site was
that there be enough water to create an ornamental lake. Not only would this help make
the city beautiful and improve the climate, but it would reflect important architecture.
Dianne Firth, Reflections, 2006, cotton, 133 x
42.5cm. Photo: Courtesy of the artist.
$1,500

ELIZABETH PATERSON
Paterson graduated from the Victoria College of the Arts Drama School in 1979. She
worked in professional theatre for many years before gradually moving into the visual
arts. Completing a Graduate Diploma in Sculpture at the ANU School of Art in 1994 was a
significant step in this transition.
Paterson has mostly developed her practice through solo exhibitions where in her shows
she pursues a particular theme in depth and responds to each exhibition space, creating
an installation rather than focusing on separate objects. Galleries in which she has
exhibited include the Canberra Museum and Gallery, Craft ACT: Craft and Design Gallery
and the Australian National Botanic Gardens Gallery.
“Utopia…an imagined place…in which everything is perfect…based on Greek ou ‘not’ +
topos ‘place’ (New Oxford Dictionary of English). Thinking about utopia makes me realize
nowadays I am more interested in discovering what is around me rather than imagining
somewhere that doesn’t exist. I’m very lucky I don’t have to imagine a better place. And I
don’t like the idea of everything being perfect.”
Elizabeth Paterson, Not Place - Utopia I, 2019,
paper, dressmaker patterns, glue, wire, 200 x
600 x 700 mm. Photo: Courtesy of the artist.
$350

ELLIOT BASTIANON
Bastianon is a furniture designer based in Canberra, Australia. Graduating in 2012 from
the Australian National University with a BA/BVA (Honours), he has a diverse material
palette and attempts to extrapolate the most from everyday things around him; often
combining materials in ways that he hopes will direct his practice down a path not often
taken. Bastianon is also the founder and studio director of the shared workshop, Six
Wiluna, a place that provides machinery and space for early career designers to develop
their practices.
“carries an emotive energy that has the ability to conjure up free-flowing movement in
the imagination. Liquid can run and flow; it oozes out and can’t be confined; it finds its
way into places it doesn’t belong; it moves in subversive ways and it does so on its own
terms.
Our aim is to break new aesthetic ground by seeking out inspiration and purpose via an
investigative approach to design. Liquid functions as a means to formalise a link between
the energy of language and the descriptive power of design. Literal interpretations and
abstract responses innovate through a thoughtful response to the brief that drips with
expressive visuals.”
Elliot Bastianon, Goo Chair, steel, expanding
foam. Photo: Courtesy of the artist.
$2,900

EMILIE PATTESON
Emilie Patteson is a contemporary artist, practicing mainly in glass and illustration. She
grew up in Orange, NSW, and moved to Canberra in 2009 to study Glass at the Australian
National University. She graduated with Honours in 2012. Emilie now bases her practice
from a studio at the Canberra Glassworks.
Emilie explores themes of nature and life cycles through her work, with a particular
focus on tiny details that often are overlooked. She is interested in using these details to
juxtapose life and death, and growth and decay, to examine the fleetingness of life.
Fallen III (Acer sp.) is one of the largest drawings I have completed. For this work I
created a field of seeds – each one a record of individual seeds I had collected. Acer
seeds take me back to childhood and the memory of throwing them into the air and
watching them spin like helicopters as they fall to the ground.
Emilie Patteson, Fallen III (Acer sp.), 2018,
pencil on paper, 750 x 550mm
Photo: Courtesy of the artist.
$950

FRAN ROMANO
Inspired by the architecture and archaeology of Europe my abstract vessels reference
both the built and natural environment. They reflect my interest in exploring notions of
decay as a metaphor and marker of time. Referencing the sculptural forms of the ancient
olive trees found all over the Mediterranean, these new works continue my investigation
into recurrent themes of loss, longing and nostalgia and their intersection with concepts
of ritual, memory and remembrance.
The olive trees are ancient beings, standing watch over time. Able to live for thousands
of years, they command respect and veneration. As the ancient trunks hollow out inner
cavities are formed, developing into embracing architectural voids which invite entry and
seem to offer sanctuary. The apparent decay, coupled with new growth, is a metaphor
for life.
My work creates a quiet, contemplative space for the viewer. This moment of reflection
creates a marker in the infinite expanse of moments past and those yet to come. It is a
meditation on the duality of life; the tangible and intangible.
Fran Romano, Time Is... Time Was..., 2019,
handbuilt midfire ceramic, slips, stains and
oxides, 200 x 210 x 230mm. Photo: Art Atelier
$485

GILBERT RIEDELBAUCH
This wall piece belongs to a set of new sculptural works. Its design draws loosely on
symbols and architecture; connecting arcs and straights through a folded 90 degree
cross-section. These common elements invite a playful exploration of possible
combinations. Here the joy is in exploring the interaction of the object’s elements
together with its colours and textures.
This work is a further development of my approach to combine a manual craft practice
with digital fabrication processes. Initial ideas are sketched and made into small-scale
models to see whether a design is likely to work as a larger, 3D object.
A successful design is converted into a digital drawing using a graphics software. This
computer drawing is then engraved and cut by a commercial fabricator onto a aluminium
composite panel. Finally, the object is manually completed in my studio through folding,
assembling and finishing its components. Geometry and experimentation play important
roles in the creation of this work. The folding of a 2D pattern into a 3D form changes its
geometry. Trigonometric calculations informed the engraving and allowed its elements
to meet at the correct angle.
Of particular interest is the high-quality surface of each element. I take care to maintain
the ‘car-body’-like finish of individual elements throughout all the working processes.
The industrial appearance of this work is part of its appeal, further highlighting its
manual/digital provenance.
Gilbert Riedelbauch, Penta black, 2019,
aluminium composite, 670 x 640 x 90mm.
Photo: Courtesy of the artist.
$650

HANNAH GASON
Originally from Victoria, Hannah Gason moved to Canberra to work as a cartographer.
After an introduction to glass through a number of workshops, Hannah enrolled at the
ANU School of Art and in 2015 graduated with a Bachelor of Visual Arts with Honours
and was awarded a University Medal. Reflecting her interest in mapping, Hannah’s glass
works explore depth, light and perspective and suggest imagined landscapes. Through
the use of kiln forming processes, Hannah creates complex combinations of fragments of
colour, shape and gestural markings resulting in loosely-structured fields.
Hannah has been an artist in residence at the Bullseye Glass Company, a visiting artist at
Berlin Glas, a teaching assistant at the Corning Museum of Glass and participant at North
Lands Creative Glass in Scotland. Working from her studio at the Canberra Glassworks,
Hannah has exhibited nationally and internationally, with work housed in the Australian
Parliament House Art Collection, the Australian National Art Glass Collection and the
ANU Art Collection.
“As I move through the soft evening light, a mess of entangled marks start to dis-perse.
In this space, complexity starts to feel very far away. As the air touches my cheek,
my focus turns to the rhythm of repetition, shifting colour and fading noise. Clusters
of jarring, jumbled marks held tight, slowly become unstuck as they em-brace their
surrounds of colour and light.”
Hannah Gason, Untitled (prototype), 2019, kiln
formed glass, 380 x 770 x 15mm.
Photo: Greg Piper
NFS

HARRIET SCHWARZROCK
Schwarzrock has exhibited extensively throughout Australia and abroad. Her work is
widely collected, and her piece, breathe, won the sculpture prize in the Waterhouse
Natural Science Art Prize in 2014.
She worked at the Canberra Glassworks in 2017 as the Creative Fellow, also supported
by an Australia Council New Work Grant, to produce a neon installation for the 2018
Canberra Enlighten Festival. Harriet was awarded the 2018 Asia Link Toyama residency
in Japan. In 2019 she thrilled to be the Proctor Fellow through the Glass Workshop
travelling to the USA to study neon and plasma.
This work returns to themes of interconnection, about the experience of the body,
and how we relate to others. An investigation into the intangible cycles of breath and
circulation. Where these invisible functions of life, frame our experience, affecting others
and ourselves.
Harriet Schwarzrock, Filament Series,
2019, neon, thread, capillary glass, varied
dimensions. Photo: Sam Cooper
$4,800

ISABELLE MACKAY-SIM
Gynomorph I-III
“I am interested in the ways that perceptions of the body are socially constructed, and
how social ideals change over time. Abstract Art Historian David Getsy writes in his book
Abstract Bodies , “the status of abstract sculptures, which [...] signal bodies, despite their
having left figuration in the form of statuary behind, is like the status of bodies before
they have been slotted into biological, social, or political designations.”1 My abstracted
ceramic figures encourage viewers to form new perceptions of imperfect bodies that
are unbiased by popular social norms. Gynomorph I - III oscillate between abstraction
and representation, emphasising a feeling of the uncanny as the form is simultaneously
familiar and other. The works imply personality through gesture, simultaneously
presenting a visceral depiction of the body and a sense of the persona that inhabits it.”
Isabelle Mackay-Sim, Gynomorph I, 2019,
glazed earthenware ceramic, 300 x 300 x
270mm. Photo: Courtesy of the artist.
$700

JANET DEBOOS
My work has always occupied a space ‘in between’. It’s where my interests lie, where
questions take shape in my head, and where my life seems to take place.
It always migrates to that space- whether it’s between function and non-function, the
domestic and the public, or between a cultural ‘here’ and ‘there’.
In this work I am drawing parallels in both a literal way, but also in a metaphoric sense
between flatness, and the ‘roundness’ of pottery, using calligraphic decoration as the
tool.
Janet DeBoos, Drawing Parallels 2 - Part of
the Scenery, 2019, porcelaineous stoneware,
porcelain, underglaze pigments, 300 x 590 x
140mm. Photo: Artist supplied
$3,000

JENNIFER KEMARRE MARTINIELLO
Scientists seeking to understand the layers place and its human history sink deep
extraction shafts through layers of earth to bring up sample cores for analysis. What if,
instead of compacted layers of earth, those sample cores brought up the shapes and
sounds of the voices of that place’s first peoples, their stories, songs and ceremonies.
Each of the Voice Cores in this series seeks to extract the shapes and resonances of
the First Voices for each of the places named, it’s vowels, consonants, syllables – each
captured in the colours and forms of the natural environment of each place.
The Voice Cores represent an extension of both conceptual and technical elements in
my work. In my series of hot blown glass Bush Flowers bicornuals and dillibags I created
murrine from complex hot sculpted glass canes to emulate native flora. In the Voice
Cores I have experimented further with this process, seeking to invoke not just purely
physical forms, but to step beyond the physical to invoke the metaphysical, that which
is ephemeral, the shapes and forms of the first languages that existed in those places in
the distant past. At the same time I am attempting to fold the past and present in the
timeline of each place together through the use of the native colours and forms of those
places as they are today – ‘Always was, Always will be…’
Jennifer Kemarre Martiniello, Voice Cores #1 -
#6, 2017, hot blown glass with murrine, 590 x
650 x 650mm. Photo Credit: Art Atelier.
L-R: $2800, $2,800, $2,600, $2,800, $2,800,
$2,600 or $16,000 (set)

Jennifer Robertson, Turbidite, 2019, woven
artwork, stainless steel, silk, linen, 90 x 300 x
20cm. Photo: Courtesy of the artist.
$9,900 Represented by Beaver Galleries

JENNIFER ROBERTSON
Turbidite is the first of on ongoing series of works informed by research into tectonic
geological formations and weaving. Since beginning this body of work in late 2015, I
have found the more I have delved into the subject matter, the more correlations and
likenesses there are to be found between geological formations, deformations and
weaving. Geologists have historically used textile analogies and language to describe
what is seen as physical geological phenomena - pleats, buckles, drapes and folds, fabric
or cloth of the earth. A profound symbol of connection to earth, tectonic fabric gently
and softly covers.
Some minerals seen in their smallest repeating atomic stacking lattice structures share
the same structure as weaves, for example the mineral corundum shares an atomic
lattice structure with a 2/1 twill weave. Tectonic fabrics reflect the history of their
deformation, displaying geometric features such as lineations and foliations subject to
different types of folds, buckles and pleats depending upon metamorphic movement. It
is precisely in the deformations that new knowledge and understanding is gleaned.
My endeavours in this individual research continue to plough and pioneer new ground
for weaving, particularly with new knowledge gained by developing and creating
composite materials. Whilst I am initially developing artistic woven composite artworks,
there is huge visionary potential to explore new and innovative applications.
As a result, I have been invited to give an international Keynote Address to the World
Congress of Material Sciences and Engineering to be held in Las Vegas, USA, later this
year and also to a Global Congress on Composite Materials and Advanced Ceramics to be
held in Malaysia.
On a final note, a recent artwork woven with quartz, carbon and stainless steel is part of
a final selection that will be exhibited at the Triennale of Kogei World Craft in Kanazawa,
Japan, one of seventy-two works from over five hundred world-wide entries representing
all crafts; keen to see excellent concepts through expressivity in techniques and skill
incorporating a nuanced understanding with a contemporary, broader perspective of
kogei(craft) providing a taste of a new era.

JEREMY BROWN
The life cycle of a barnacle; from floating freely in its larval stage, to permanently
attaching to an object or base; is echoed in our human need for connection and
attachment. The creatures that once found shelter and refuge within these shells, leave
them behind as an offering that we too might find comfort within.
Where the shells detract from the practical functionality of the bench, leaving room
for only one person to sit, they instead make room for emotional connection and selfreflection.
The shell-like forms hold an inherent sense of tranquility and naïve wonder,
and comfort the user through form, colour and tactility. The soft interiors hug the
hands of the user, provoking a sense of childhood playfulness through exploration and
interaction with the piece.
Not intended as a permanent escape from reality, this work instead offers the user a
temporary moment of separation from the world around them in which to become lost
in ones own thoughts, thus finding repose in solitude.
Jeremy Brown, Repose In Solitude, 2018,
american white oak, wool felt, brass, 660 x
1100 x 500mm. Photo: Prue Hazelgrove.
$2,000

JO VICTORIA
Jo is a ceramic artist specialising in sculptural porcelain and slipcast porcelain lighting. Jo
worked as an anthropologist and archaeologist for many years before returning to the
Australian National University School of Art to study ceramics. Her artworks reference
fossils and shards and explore stories of place where evidence of the interactions
between nature and culture can be revealed.
Jo’s work explores ideas of place by collecting and dipping found objects and organic
material in porcelain. Jo is attracted to the whiteness and translucency of porcelain.
It contains similar qualities to bleached bones, fossils and broken shells. The organic
material burns away during the firing process leaving traces, shards and fragments.
These works feel fossil like in the way that they capture the life essence of once living
things.
Light Fall is a hand crafted chandelier made from thousands of palm pressed pieces
of porcelain that have been threaded onto black wire. When the spot light shines on
the translucent porcelain shards, palm lines and hand prints can be seen through the
material. In a contemporary design context where hard surfaces and edges dominate
architectural spaces, Light Fall offers a softly falling gentle light with shadow play to
caress the senses and massage the soul. The reference to the human touch of the hand
made material can be experienced by viewers as a light caress in even the most severe
and cold spaces.
Jo Victoria, Insectum, 2018, porcelain,
35 x 20cm. Photo: Art Atelier.
$620

JOCHEN HEINZMANN
The design concept is based on a singular shape integrating the bench legs with the
seat. Instead of a sharp break where seat and legs meet a curved section blurs the
line between where the seat ends and the legs start. This concept is further amplified
through the use of continuous grain timber on the seat surface and the side rails. The
slightly splayed legs complete this visual illusion of a bench “without legs” where the seat
becomes the legs. It also invites the curious minds to experiment with seating positions
on the end of the bench.
The seating surface is structured with inset rounded triangles of furniture linoleum
lamented to a core of cork for a modest amount of cushioning, sufficient to avoid the
hard un-cushioned feel of a bare timber seat. The matt and tactile surface of linoleum
contrasts and complements the oiled walnut surface of the bench. The linoleum surface
is just proud of the timber surface providing some structure and friction so the sitter
will not be sliding and shifting on the seat. The rounded triangle pattern is unapologetic
reference to visions of the future.
The materials used are sustainably grown north American walnut both as a veneer
on the MDF seat core and as steam bent solid laminations on the front rails, and
environmentally friendly furniture linoleum. The central internal spine hosts a steel core
providing the structural integrityallowing for the slender dimensioning of the seat body.
The environmental footprint of the bench has been carefully considered during the
design stage. To minimise the use of solid hardwoods in the project and waste thereof,
only the shaped parts are made from solid timber, whereas the main body of the bench
is made from MDF, a reconstituted wood product made mostly from waste timber. The
timber species chosen for the solid parts in this project is north American walnut, a
sustainable managed timber. The cork cushioning is a floor underlay which, like MDF,
is manufactured largely from waste products from other processes. Forbo linoleum
is CO2 neutral and is manufactured from natural products such as jute and flax, it is
biodegradable and vegan.
Jochen Heinzmann, B-01, 2019, timber,
linolium, steel, 450 x 1700 x 460mm.
Photo: Courtesy of the artist.
$2,950

JOHN WHITE
John White is an artist whose interests are infused by discovery and invention that
has shaped and influenced our world throughout history. He likens this diverse
subject matter to how his life has taken many paths through achievements in skilledbased
trades, and his practice is connected to the relationship between the artisan
and tools of their trade and practices.
John has been a practicing craftsperson since undertaking an apprenticeship in
furniture making in the early 1980’s. He completed a Bachelor of Arts with Honours,
majoring in glass, at the Australian National University.
He has received high recognition and acclaims for his artwork, exhibiting his first
solo exhibition at the Toyama Museum of Glass, Japan 2016 and a solo exhibition
at Sabbia Gallery in 2017. His work is held in the Wagga Wagga National Art Glass
collection, and he has successfully exhibited around Australia.
‘Stylus’is a continuation in the series of works exploring my family’s dialogue with print.
It is a celebration of innovation, the rising of potential creation and my own sculptural
evolution. This piece suggests a playful and joyful reminder of the simplicity of drawing,
which at its essence is an extension of hand and mind. ‘Stylus’ is a rudimentary tool
employed and adapted to a multitudeof variations, its functionality embedded in our
society as an extension of our selves.
John White, Stylus, 2018, blown glass, float
glass, print, wood and metal, 700 x 1200 x
1200mm. Photo: David Patterson
$7,500

JUDI ELLIOTT
Judi Elliott has exhibited and studied ceramics and glass in Australia and overseas. As
a member of the Potters Society of Australia, she exhibited ceramic sculpture widely
and also taught weekend workshops in ceramics for the Arts Council of NSW flying
to many country areas.
“I Know What Shape I Am. . Metaphoricaly Speaking. I Am A Square. I Often Try To
Be Round, But I Am Uneasy With It. Round Slips Away From You Easily. Squares Are
Positive And Strong. You Know Where You Are With A Square. I Have Been Working
With Architecture As My Inspiration For Many Years Now.
I Am Now Focusing On The Standing House And Wall. I Find That Each Building And
Wall That One Encounters In Life, Is Embedded With The Lives Of The People Who
Have Inhabited Them. I Try To Recreat These Feelings In My Walls And Buildings. My
Structures Can Stand Alone, But Gain Strength By Being Grouped Together In Two’s,
Three’s Etc
I Believe That There Is No Necessity To Force Change Upon One’s Work. The Joys And
Sorrows Are Impacted In The Work As We Live Them, And Are There For All To See.”
Judi Elliott, Black Box, 2017, kiln formed glass,
61 x 64cm. Photo: Rob Little
$5,500

JULIE BRADLEY
Using the techniques of stencilling, collage and drawing, Julie Bradley creates mixed
media works on paper which investigate the idea of connectedness and express
aspects of an emotional landscape and states of being.
Julie trained in printmaking at the Australian National University - School of Art and
also studied at the University of New South Wales where she received a graduate
diploma in professional art studies. Her work has received numerous awards.
She currently works as a professional artist from her studio at ANCA in Canberra and
her work is held in the collections of the National Gallery of Australia, the Australian
National University, Canberra Museum and Gallery, the University of Canberra
Collection, Bundanon Trust, Calvary Hospital Birth Centre, Canberra Hospital , the Lu
Rees Archive and the Goulburn Regional Gallery.
Julie Bradley, Bay of Fires #1-2, 2018, mixed
media gouache and collage, 530 x 510mm.
Photo: Courtesy of the artist.
$1,500 each

JULIE PENNINGTON
Much of the inspiration behind my ceramics stems from my love of texture
and pattern which I observe in the natural environment, as well as through my
appreciation and interest in basketry and textiles. Engaging with nature provides
endless opportunities to observe visual and tactile qualities that act as a springboard
for ideas to incorporate into my work. I have always felt a deep connection with
trees, and since moving to Canberra I have really appreciated the importance that
tree planting was given in the early design of the city. The Forest Series reflects
my need and desire to preserve and be surrounded by trees, to observe and
experience change, patterns, movement, light and shadow. My work is hand built
and characterised by a distinctive and contemporary approach to the enduring
technique of coil building. This is a slow and methodical approach whereby the coils
are not blended in the usual manner, but are retained to create the surface texture.
These textured lines of clay are not dissimilar to thread or yarn, giving a sense of
softness to the otherwise hard clay surface.
Julie Pennington, Forest Series II, V, 2019, dark
midfire clay, hand built, porcelain, hand build,
27 x 6cm, Photo: Art Atelier.
$320, $360

KEIKO AMENOMORI-SCHMEISSER
Japanese born artist, Amenomori-Schmeisser, spent her childhood in Germany
and in 1979 graduated from the Academy of Fine Art in Hamburg with a degree
in Textile Design. She has lived in Australia for more than twenty years, dividing
her time between Canberra and Kyoto. As a designer, she engages in collaborative
commissions that offer a high standard of modern design. In 1995 Amenomori-
Schmeisser attended a workshop taught by a Japanese indigo artist, Hiroyuko
Shindo, and became fascinated with the shibori technique. Amenomori-Schmeisser
currently produces large hanging installation works and three-dimensional pieces
that incorporate traditional craft with a contemporary art practice.
National collections include: National Gallery of Australia, Canberra, ACT; Museum
and Art Gallery of the Northern Territory, Darwin, NT; Orange Regional Gallery, NSW;
Parliament House Art Collection, Canberra, ACT; University of Southern Queensland,
Toowoomba, QLD.
International collections include: Kasuga Grand Shrine, Nara; Museum für Kunst und
Gewerbe, Hamburg, Germany; Tokyo Technical Institute.
Keiko Amenomori-Schmeisser, Folded I, 2019,
shibori, dye and paint on silk, 165 x 69cm.
Photo: Steve Keough.
$5,800

LEONIE ANDREWS
Leonie Andrews is a visual artist working in textiles and print making. Her work
explores the themes of location and how, as individuals, we connect to a particular
place.
Since completing her studies at the Australian National University School of Art in
2006, she has explored and recorded various aspects of suburban life. The resulting
work has been exhibited in solo and group exhibitions across Australia. Andrews has
also been a finalist in a number of art prizes.
In 2016 Andrews was awarded an Asialink Arts Residency, spending two months in
Tokyo, exploring daily life in the world’s greatest metropolis.
In the lead-up to Australia’s Bicentennial in 1988, the Semco company produced a
commercially successful range of craft kits depicting utopian visions of an earlier
colonial-era Australia, such as ‘Cottage Garden’. In 2019 I completed an unfinished
kit I found in an op shop, updating it with my own contemporary references.
Leonie Andrews, Cottage Garden, 2019, wool
on canvas, found and repurposed craft kit, 355
x 300mm. Photo: Courtesy of the artist.
$300

LIA TAJCNAR
Lia Tajcnar’s sculptures are created through playful experimentation across multiple
techniques and mediums. Aesthetically, the visual inspirations for her work are
natural forms including coral and sea creatures. This work does not set out to imitate
particular organic forms but seeks to capitalize on the strange, richly-patterned and
brightly-colored beauty of the natural world.
Conceptually Tajcnar’s work is about the evolution of how ideas manifest themselves
into objects and an ongoing relationship between surface and form, or presentation
and representation. The work is created in an intuitive way using a diverse range
of materials and technical processes so that it evokes a sense of multiplicity and
pluralism and foregrounds a sense of ongoing creative investigation.
Tajcnar’s current body of work is a series of intricate sculptural vases. She juxtaposes
multiple layers of organic representations with real plants as a way of subverting and
playing with the idea of the real/constructed. The complexity and multiple layers of
imagery on the pieces mean that they must be experienced in three-dimensional
space as the work is built and arranged so that not all the information is available a
single glance. This encourages an active experience of a static object.
Lia Tajcnar, Strange Attractor, Rock Monster,
2019, ceramic, resin, silicone, wax.
Photo: Craft ACT
$2,200

LISA CAHILL
Lisa Cahill is an Australian artist, known internationally for her kilnformed and
coldworked glass wall works which include several public art commissions. Since
completing a BA (Hons) Degree in Melbourne, Australia in 2000 she has worked as an
independent studio artist for over 10 years having established her own kiln-forming
and cold-working studios in Melbourne and Sydney and now Canberra. She has been
a Board Member and Newsletter Editor of Ausglass (the Australian Glass Artist’s
Society) since 2009, and Vice President in 2010. Cahill has been awarded numerous
grants and prizes including Australia Council for the Arts New Work Grants in 2002,
2007 and 2010 and has been a regular finalist in the Ranamok and Tom Malone
Glass Prizes. She teaches and lectures internationally and has had residencies at the
Bullseye Glass Company in 2001, Northlands Creative Glass in 2008 and the Canberra
Glassworks in 2012 and 2013. Cahill’s Public Art and Architectural Commissions can
be seen in Sydney and Melbourne, Australia and her work can be found in public
collections such at the National Art Glass Collection, Wagga Wagga Regional Art
Gallery, NSW, Australia, the Ebeltoft Glass Museum, Denmark and in the Northlands
Creative Glass Collection, Lybster, Scotland.
Lisa Cahill, Harbour, 2019, kiln formed and
enamelled glass, 95 x 100 x 2cm
Photo: Courtesy of the artist.
$10,000

LOUIS GRANT
Louis Grant is an emerging glass artist whose practice explores the paradox of the
queer self, searching for an authentic queer voice between the exaggerated
‘performance of self’ and the suppression of ‘true self’. Grant’s body of work
presents a deconstruction of process, not of personality. It focuses on methods of
unbecoming, unmaking and undoing through the ‘queer art of failure’ to strip back
the performance of self to find an authentic, raw and nuanced voice. Through this
deconstruction of process, the artist begins to create a material voice that, much
like his queer self, is outside the norm.
Louis Grant, a shift in perspective, 2019
kiln formed and cold worked glass, frame
(sequence of three). Photo: Adam McGrath
$1,700

LUNA RYAN
Looking in and looking through
This duo tells the story of different ways of seeing but also of different ways of
being….
They represent an interchangeable oscillation way of coping in this world.
Sometimes things can be very clear and we can see through…
Sometimes we see inwards into the dark universe,
Remembering we are one
And it is in this darkness that reflective light shines through and seeds are sown.
Luna Ryan, Looking Through and Looking In, 2019
kiln cast blackwood crystal, 120 x 265 x 265mm.
Photo: Courtesy of the artist
Luna wishes to thank Peter Nilsson for his major
assistence in coldworking.
$4,500

MADISYN ZABEL
Madisyn Zabel is an Australian based artist who investigates the dynamic
relationships between three-dimensional objects and their two-dimensional
representation, and the growing dialogue between Craft and digital technology.
Zabel obtained her Bachelor of Visual Arts with First Class Honours, majoring in
glass, at the Australian National University School of Art, Canberra. Since graduating
Madisyn Zabel’s work has been shown internationally, included in the Corning
Museum of Glass New Glass Review and has been the recipient of awards including
Warm Glass UK’s The Glass Prize Bullseye Glass Artists Category and the Jutta Cuny-
Franz Foundation (Museum Kunstpalast in Düsseldorf) Talent Award.
Madisyn Zabel, Split (green set), 2018
glass, paint, metal. Photo: Kate Matthews.
$600 (set)

MARCIA HOLDEN
Marcia Holden is inspired by ancient cultures, and the concept of the vessel. She has
developed a hand-built artistic style of a high quality.
Holden has a Certificate IV in Ceramics from Goulburn TAFE. She has exhibited
regionally, and won the Tertiary Student Award from the Canberra Potters’ Society
in 2005 & 2006 and the Goulburn TAFE Ceramics Award in 2003.
She has a studio at her home in North Canberra and is a member of the Canberra
Potters Society.
‘It’s all about the play or the dance with clay as my partner’; and it continues with
elongated and slender vessels. The inspiration for this form comes from vessels from
my Great Grandparents home ‘Tara’ in North East Victoria.
Marcia Holden, Tara Vessel 4, 2019, stoneware,
engobe, oxides, stains and clear glaze, 470 x
140mm. Photo: Courtesy of the artist.
$400

MARGARET BROWN
A Raku demonstration by Dorothy Hope in 1978 was the initial inspiration
behind the decades of creations in clay by Margaret Brown. Following her early
experimentations with the clay medium, Brown decided to attend a formal studio
ceramics course in Kempsey, NSW.
Brown completed a Diploma in Visual Arts (Ceramics) at the Australian National
University School of Art and received a Technical award upon completion of the
course.
Brown attributes her talents and techniques to a multitude of talented artistic tutors
who have shared their knowledge and skills freely at workshops which she has
willingly attended.
Since Brown’s graduation, her work has been in continual demand within the Bega
valley, where she now lives, and surrounding townships. She has developed a
professional relationship with selected galleries and commercial outlets within the
local region that exhibit and sell her perfected creations.
Margaret Brown, Bowls, 2019
ceramics, dimensions variable.
Photo: Courtesy of the artist.
$150, $180

MARK ELIOTT
Mark Eliott works Primarily in flame-worked glass while incorporating other media
such as music, text, stop-motion animation, sketching and wood carving. His practice
has a number of themes. One is sculptural abstraction informed by synaesthesia
and the dance between improvisation and structure. Another is representation of
biological organisms influenced by the 19th -20th century glassblowers Rudolph
and Leopold Blaschka. He also produces narrative based works and engages in
collaborations.
Mark completed both studio and research Masters as well as Saxophone studies
at Sydney university and his work is in many collections including corning
Glass Museum and the National Glass gallery. Recent awards include The Tom
Malone Glass prize and the KIGA Award for innovation. He is also interested in
environmental issues, music and teaching, He travels to Canberra frequently while
living with his partner Manjit and their son and daughter in Sydney.
Mark Eliott, Squawkophone, 2019
flame worked glass, dimentions variable.
Photo: Courtesy of the artist.
$5,900

MELANIE OLDE
Melanie’s work is continually driven by curiosity and new learning. She is currently
researching cellular structures for form, function and array and interpreting these
in biomimetic, complex woven cloth. Her ease of thinking of cloth in 3-dimensions,
combined with her knowledge of woven structure ensures her research leads to
innovative exploration and design.
Leaves and grasses offer biomimetic opportunities to create woven fabrics with
unusual properties. Melanie has been exploring the polygonal patterns of these
plant cells then mimicking tesselations and shapes in multilayered woven textiles. As
she continues to experiment, she increases her knowledge of natural and engineered
structures, informing the cloth design.
Melanie aims to challenge viewers’ perceptions regarding the norm of cloth form
and function. Just as a leaf has several layers of cells, so her cloth has similar layers,
stretching and forming its 3-dimensional surface.
Melanie Olde, Cellular Symmetry in Blue, 2019
nylon monofilament, 20 x 19 x 3cm
Photo credit: Artist supplied
$2,000

MONIQUE VAN NIEUWLAND
Monique van Nieuwland learned to weave in the Netherlands and bought her first
loom in the late 70s while she was working on a commission weaving fabrics for
curtains and tablecloths. After migrating to Australia in 1982, Monique studied
Visual Arts-Textiles at the Australian National University School of Art and has
completed her masters degree.
Monique exhibits regularly, nationally and internationally. Her work has been
selected three times for the Tamworth Contemporary Textiles (biennial and triennial)
exhibition and she is representing Australia at the 15th International Triennial of
Tapestry in Lodz, Poland.
“This work is the beginning of a new body of work: Jacquard woven works that
explore the serendipity of life and our ephemeral existence in this world. I took a
photograph of a quince from our tree. I drew into the image and translated it into
in weave structures before weaving it on a Jacquard loom. As I keep working on this
series I may submit a different work that suits the Utopia exhibition better.”
Monique Van Nieuwland, Cydonia - Fructus
Amoris, 2019, handwoven jacquard, silk warp,
cotton weft, 25 x 36cm
Photo: Courtesy of the artist.
$1,200

MORAIG MCKENNA
Moraig’s practice is informed by the long and variant history of ceramics for use. The
processes and results of wood firing excite me and she draws inspiration from wood
fired ceramic traditions in cultures such as Japan, Korea and China.
This body of work work is work hand built using slabs. Moraig loves to play with
functional elements like rims, spouts, handles and feet. The surfaces are textured
to provide more variation for the interplay of wood and salt, glaze, clay and slip. The
work is then subltly embellished with enamels and metallic lustres.
“It is important to me that through the construction the imprint of my hand is
evident in the finished work.These marks become a point of connection between my
hand as the maker and the hand of the imagined user.”
Moraig McKenna, Pourer, 2019, wood fired
salt, black slip, silver enamel, 190 x 290 x
125mm. Photo: David Patterson
$350

NAOMI ZOUWER
Naomi Zouwer is a Canberra born and based cross-disciplinary artist who works
with drawing, painting, and textiles mediums to make works that engage with
ideas of identity, cultural heritage and the role of domestic objects as conduits to
understanding how we belong and connect to the past and the present.
Zouwer’s recent practice-led PhD project at the ANU draws on the traditions of
still life painting and domestic embroidery to explore the relationship of family
keepsakes to ideas of time, memory and migration stories.
The Unbridled Series considers the representation of women’s bodies in art history
by male artists from the 1400-1700s, as well as ideas of body image and discomfort.
The male gaze is subverted by re-interpreting early European Master drawings into
contemporary hand stitched drawings. The soft, voluptuous and fleshy figures stand
in contrast to the vintage Barbie doll clothes worked into the drawings. The dresses
appear restrictive, ill-fitting and uncomfortable, they invite the viewer to consider
relationships we have with our bodies and clothes.
Naomi Zouwer, Unbrideld - After Reubens and
Boucher, 2019, embroidery floss and vintage
dolls clothes, 30 x varied x 2cm.
Photo: Courtesy of the artist.
$1,200

PAMELA IRVING
Pamela Irving has a Bachelor of Education and Master of Arts from the University
of Melbourne. Pamela has been a fulltime exhibiting artist since 1981. She has
exhibited widely throughout Australia as well as in Hong Kong, Russia, Japan, Italy,
France and the USA. Selected collections include, Museums Victoria, Bars Collection
Russia, Art Bank, The City Museum of Ravenna, Italy, Regional Gallery Collections,
Municipal Collections, and University Collections. Pamela originally trained in
ceramics and sculpture. She has been the recipient of several Arts Victoria and
Australia Council Grants and Winner of the Shepparton Australia Day Award for
Ceramics in 1994. Pamela works across media and her pieces adorn many public
spaces in Melbourne and afar.
“I have worked with ceramics and ceramic objects all my professional life. I also
collect ceramics, pottery and fine china. In a sense these collections define me.
They define my tastes, my humour and illustrate my love of ceramic history. My
new works are “self portraits” assembled from some of my collected ceramics and
ceramic cast objects. I represent myself with the head of a dog. Over the years I
have created ceramic dogs and used their “skins” as a metaphor to tell stories. My
body shape is the outlive of Victoria, where I have lived all of my life. Each figure
from this series tells a story about my life. Reverence for craft is a big part of that.”
Pamela Irving, The Romans Never Conquered
Victoria, 2019, ceramic, found objects, cast
objects, 35 x 75mm. Photo: Brenton McGeachie
$5,000

PHOEBE PORTER
Utopia is a vision of the ideal way to live in an ideal environment/place and society.
This beautiful vision is inherently unattainable, as societies are complex and citizens
ultimately have contradictory desires that cannot be simultaneously realised. What
constitutes the ideal way to live, or utopian state, depends upon each individual’s
beliefs, values and predilections. Even for the individual, there are competing
elements of our complicated lives that can feel hard to balance in order to reach our
imagined perfect lifestyles. This is a central tension embodied within the concept
of Utopia. Striving to achieve a state of Utopia requires the careful balance of
competing values to attain a harmonious society and/or a harmonious life.
This concept of “balance” is the central theme I wish to explore as the 2019 Designer
in Residence. As a metaphor it can be interpreted in many different ways. On a
personal level, many of us struggle to balance our passions, commitments and
responsibilities in a way that feels satisfying and sustainable for a meaningful life.
This same tension underpins broader systems such as city planning whether it be the
tension between providing enough housing while retaining green and open spaces,
or between providing fast transport solutions while retaining a beautiful civic centre.
Phoebe Porter, Elements of Balance,
2019,aluminium, titanium, 750 yellow gold,
720 x 230 x 45mm. Photo: Art Atelier.
$4,700

RENÉ LINSSEN
René Linssen is a South African born, Australian Industrial Designer living and
working in Canberra, Australia.
René loves the challenges of Industrial Design, finding a way to improve peoples
lives with a product that satisfies a need and that can be aesthetically pleasing at the
same time. He also feels strongly about the responsibilities implicit in a career that
he believes has a big impact in shaping the world we live in.
Currently an Industrial Designer at Australian product design company Formswell
Design, he is involved in a diverse range of design work in industries from sports,
outdoors, homewares, government and more.
BALANS is crafted from solid timber, formed leather, and Kvardrat natural fabric—
materials chosen for their authenticity and low environmental impact. This is a
versatile piece of furniture, equally at home in the living room or office breakout
space.
René Linssen, Ora, 2019
brass, steel, 60 x 60 x 60mm.
Photo: Courtesy of the artist.
$250 each

ROBYN CAMPBELL
Robyn Campbell works in both glass and ceramics. In 1993 she completed her
Bachelor of Arts (visual) majoring in Glass at the Australian National University. Until
2000 Robyn focused on her studio work, exhibited nationally and internationally,
travelled to the USA for a fellowship and to promote her work and completed
several local public art commissions. In 2013 she returned to her practice through
ceramics and is now beginning to use both glass and clay in her sculptural work.
‘Held 2’ is a recent version of a reoccurring theme from the early days of my
artistic practice in the 1990s. The work is an expression of enclosure, containment
and protection. Over time the patterns in an individual artistic practice can start
to emerge. They can perhaps be as much an expression of who the artist is as
the features of their face, the shape of their hands, their fundamental character.
Knowledge of material, skill levels and ideas all evolve overtime, refining the work.
‘Held 2’ does hold within it both the past, the present and perhaps the future
of a continuing theme in many of my art works. What changes is the means of
expression.
Robyn Campbell, Held 2, 2018
ceramics, 300 x 400 x 430mm
Photo: Brenton McGeachie
$800

ROLF BARFOED
Rolf Barfoed is a fine furniture designer/maker. He established his Fyshwick studio
in 2014. Trained as a cabinetmaker, Rolf Barfoed’s design is informed by traditional
craft skills and modern production methods to result in contemporary work of
heirloom quality. His passion for craftsmanship and ability to innovate and make
complex work look simple is at the heart of his practical furniture.
Rolf Barfoed, Nesting Tables, 2019
american walnut. Photo: Craft ACT
$3,100

ROZLYN DE BUSSEY
As a recognised Australian glass artist and educator, I’ve exhibited my work globally
since 1984 including in the USA, Italy, the UK, the Netherlands and New Zealand. My
work is represented in collections throughout Australia and overseas including the
Frank Howarth Collection, Queensland Art Gallery, Piiponnen Collection in Finland
and the Sklarse Museum in Czech Republic.
As a committed Canberra artist, I have been recognised by the glass fraternity as
a professional maker and educator. My standing as a contemporary practitioner
is evidenced in my work being showcased as an independent artist in the then
prestigious Ranamok Glass Prize and the Bombay Sapphire Design Prize. Not many
in this country can use vitreous enamels and lusters as I can do. It does take years of
practice, patience and resilience to master a variety of technical processes.
Rozlyn de Bussey, Vessel form, 2019
hand blown glass, hand painted using vitreous
lustres and enamels. Photo: Craft ACT
$2,720

RUBY BERRY
Ruby Berry is a Canberra based textile artist who creates sculptural forms using
traditional processes and materials to explore containment and protection. Her work
Promising centers on engaging with relationships: between maker and materials,
materials and process, objects and space, maker and viewer. The form is considered
alongside the body, encouraging the haptic gaze to encourage sensory engagement
and feelings of comfort. The work acts as a physical record of Ruby’s gestures of
making, capturing the intimacy, time and energy devoted to the work.
Ruby Berry, Promising, 2019
wool, wire, waxed thread, 370 x 320 x 150mm
Photo: Courtesy of the artist
$550

RUTH ALLEN
Matrix – definition.
‘the cultural, social, or political environment in which something develops.’
The Matrix jewellery works are mostly created in the small hours of the night, in the
quiet and under the blanket of darkness. The night beholds the most contemplative
hours of my daily clock. I weave threads whilst travelling along complicated roads of
thought. Perplexed by how to change our current global trajectory whilst upholding
my belief in the power of humanity and community to change our priorities and the
way we exist.
The Matrix jewellery series is the natural evolution to previous work titled
‘Synergetic Series’. The Synergetic sculptures are derived from the study of natural
systems and influenced by the philosophies and design science of the most notable
American, Buck Minster-Fuller.
Ruth Allen, Matrix Neck Piece, 2019
mirrored glass beads, linen thread, cotton thread,
dimensions variable. Photo: Fred Kroh
$580 - $650

RUTH HINGSTON
These three pieces in this developing series are my reflections about the
architectural patterns I found around Belgrade’s old city streets.
Fortification of the city’s buildings has been strengthened over the centuries against
invading empires: Turkish Ottomans, Austro-Hungarian armies and Germany in
WWII. Large iron gates and window screens became an opportunity for the Serbs
to express their love of pattern which can still be seen today. Although the city is
in desperate need of repair from the UN bombings in the 1990s, the patterned
fortifications remain strong.
Pattern, texture and bling are dominant features. While we are influenced by the
“less is more” principle of Western minimalist design, this complexity of decoration
and love of pattern has a long tradition in Serbia and other Balkan countries.
Ruth Hingston, Belgrade Patterns: Ulaz 2, 2018
hand embroidery on wool, 19.4 x 19.4 x 5cm
Photo credit: Tim Brook
$250

SALLY BLAKE
Sally Blake has been practicing textiles since 2004 when she began her studies in
the Textiles Workshop at the Australian National University. Her previous careers, as
paediatric nurse and midwife, still influence her interests in understanding human
nature and peoples’ connection to their environment. She graduated from the
Australian National University with a PhD completing her research in to transitional
and potential spaces. She has an active professional studio practice exhibiting
regularly in Canberra and interstate.
Career highlights include exhibiting as a finalist in the 2012 and 2014 Waterhouse
Natural Science Art Prize and the 2012 Blake Prize for Spiritual Art, and the 2014
Craft ACT artist in residence.
Sally Blake, Held Potential, 2019,
sterling silver/wenge, 55 x 40 x 40cm.
Photo: Courtesy of the artist
$1,100

SARAH BOURKE
Sarah Bourke specialises in making unique jewellery combining sterling silver with
Australian and exotic hardwoods. Created with the influences of the environment,
inspiration comes from the bush and the beach in her local area. Each design
blossoms new curves and shapes similar to the evolving forms in nature. Form
dominates in the jewellery combining planishing of silver and hand-sanding of
wood with the use of resin and rivets. Sarah Bourke’s jewellery combines both the
elegance of a flower with the curves of pebbles, natures wearable art.
Living in the spotted gum bush near beautiful quiet beaches, Sarah creates jewellery
that reflects her passion for nature. This design explores the fluidity of form in
our natural environment. The balance of silver and wood in cocoon form to be a
wearable piece to adorn the face.
Sarah Bourke, Cocoon 1-2, 2019,
sterling silver, wenge, 50 x 23 x 35mm
Photo: Courtesy of the artist
$170, $190

SARIT COHEN
Space is a primary component of my work and the consideration of interior space
and external design is elemental to the aim of building intimate hand made objects.
The Architecture of Space has defined itself as the focus of this artistic exploration.
The challenge I have set is to respond to the interchange between vertical forms and
the manipulation of the rim at the top of the work, supported by a strong foundation
at the base reminiscent of structures.
These works reflect and resonate with the urban environment. The surface
patterning and linear decoration refers shade and foliage that may influence the
built structure.
Sarit Cohen, Connecting with Brâncuși, 2019
ceramics, 30 x 10cm, Photo: Craft ACT.
$350, $450, $650

SEBASTIAN DAVIES
Our low stools older sibling is the ideal seating for any bar, cafe, or night time venue.
whether it be indoors or out.
Slim and sturdy, it is easily stored below the bar should you need more floor space. Like
the low stool is comes in an almost limitless amount of colour variations to ensure that it
will adapt to any environment or venue.
The low stool in The Keystone Collection is the perfect addition to any bar, cafe or
household. The minimal shape and aesthetic are pleasing to the eye and the endless
amount of colour variations allow it to easily fit into any environment seamlessly,
whether it be indoors or outside. It is also easily stack-able for the end of day pack up
making it ideal for any dining business.
No matter the place, this stool is always up to the challenge.
Sebastian Davies, Keystone Collection Tall
Stool, 2018, powder coated steel, 400 x 400 x
750mm. Photo: LightBulb Studio
$475 (short), $495 (tall)

SHARON PEOPLES
Sharon Peoples has exhibited nationally and internationally over her career. In 1994,
she completed a Masters (Visual Arts) in the textiles workshop at the Australian
National University’s School of Art. In 2004, she embarked on a PhD in fashion
theory in the former Art History Department of the ANU. She returned to making
in 2010 after completing her doctorate. Since that time, she has been developing
techniques in machine embroidery on soluble fabric which has resulted in lace
patterning.
Experimentation and research with various threads, particularly metal threads
led to creating large three-dimensional forms. In 2011 this was rewarded with the
inclusion of her work in the international Love Lace exhibition at the Powerhouse
Museum. She has further developed these techniques culminating in a substantial
body of work, which has been exhibited in a solo exhibition, Habitus. She continues
to experiment with lace structures.
“I have been working on gardens in my work for some time. Building a garden can
be seen as a pursuit of creating utopian spaces, always striving through continuously
by planting, replanting and constructing structures both natural and artificial. Often
these are private spaces that we can control to a certain level, but not entirely.
Bringing birds into our gardens requires almost a systematic approach and lots of
hope in order to create a world where we feel some sort of peace with ourselves
and the world we live in.”
Sharon Peoples, Heidi, 2018,
polyester rayon, nylon, 900 x 600 x 50mm
Photo: Courtesy of the artist
$2,500

SOPHI SUTTOR
Sophi Suttor’s work examines the loss of habitat and its replacement by the generic
she is looking at specimens through the filter of the work of Rohan Ellis. Producing
fragments of the generic as a demonstration of how easily we lose the detail and
cultural stamp of our personal landscape
Works are childlike and toy like to highlight how easily we are seduced by pretty
things. Using lots of generic flowers and toy like items to highlight how readily
we accept the generic. This acceptance erodes national identity and leads to
devaluation of all things native to Australia this process is aided and abetted by
globalisation.
Sophi is of Aboriginal descent. Her work explores identity. She observes the effect
of radiation. Focusing on the testing of bombs on Woomera. There is horror from
setting off the bombs and the aboriginal casualties at the time and the high rates
of cancer in local populations now. These works are under the title Marie Curies
Garden. The events are so bad the images are presented in child like form making
them easier to digest.
Suttor is a classically trained artist from the National Art School East Sydney. Her
work is held in private collections in New Zealand, Japan and the United Kingdom.
Sophi Suttor, Tree, 2019, white earthenware,
clear glaze, red ubderglaze. Photo: Craft ACT.
$110 each

SUE HEWAT
I am a Canberra based ceramic artist. My work is always evolving as I strive to find
ways to evoke imagery suggestive of the ever changing nature of the beach. My
particular focus is the intertidal zone and the transient nature of the ebb and flow of
the tide. By carefully considering the design elements of shape, colour, pattern and
texture, my objective is to represent the layers, lines and threads that are evident
on the shore. To do this, I combine wheel thrown ceramic forms with my own
painterly monoprints, carving and glaze to create objects that portray an impression
of the fluctuating sea, sand and tidelines. This work, Tidal Series: High Tide, aims to
emphasis the fullness of the ocean tide as it approaches the shore line.
Sue Hewat, Tidal Series: High Tide, 2019, wheel
thrown porcelain, monoprinting, carving, glaze,
2600 x 2200mm. Photo: Courtesy of the artist.
$690

TANIA VRANCIC
For some time now I have been pursuing freedom in my work and how to link my
ceramics practice with my painting practice. I have found that my best work is made
when I’m ‘in the zone’ having fully let go of any inhibitions, preconceived ideas and
expectations, taking risks to push the boundaries of my practice further. The link
between ceramics and painting can be clearly seen in the free brushstrokes in both
mediums, the colour pallet chosen and the general theme of freedom through the
brush strokes.
I am posing two questions “What does freedom mean to you?” and “When do you
personally feel most free?”. Freedom began with some sketches on old book pages
which then lead to sourcing letters and documents related to the theme Freedom
or juxtaposed to it for contrast. These writings have informed and challenged my
personal understanding of freedom and how many of us take freedom for granted in
our culture.
Tania Vrancic is a ceramic artist based in Canberra, Australia. Her designs have
(and continue to) gain success at high end design markets based in Canberra. Her
production work is sold under the name ‘Kittilä by Tania Tuominen’ (her maiden
name). In 2016, Tania made the decision to move from production work and focus on
creating conceptual artworks.
Tania Vrancic, Freedom, 2019, imperial
porcelain slip, stains, ceramic pencil, varied
dimensions. Photo: Courtesy of the artist.
$100, $190, $280

TOM SKEEHAN
SKEEHAN studio specialises in commercial furniture and edition objects for the
home. Directed by industrial designer Tom Skeehan, the studio finds inspiration in
the complete resolution and restrained beauty of the Japanese culture, particularly
the simplicity and efficiency of the origami fold. Recent work has been developed
around notions of perception, connection, and the waning value of ‘play’ in the
production of design for manufacture. Conscious awareness and refinement
through research, drawing and prototyping are integral starting points which clarify,
solve and suggest. Ultimately leading to production informed by purpose and
consideration of the long term lived experience of SKEEHAN’s objects and products.
Combining the unique talents of two of Australia’s leading design studios, Skeehan
x Stellen created this global exclusive AVISO armchair for LOCAL DESIGN. Featuring
generous, controlled curves, this exceptionally crafted piece builds a tactile
experience and is placed at the intersection of classical making processes and
minimal architectural form to bring a relaxed setting to your space.
Tom Skeehan/Geordie Ferguson
AVISO Side Table & Armchair, 2019
Photo: Courtesy of the artist.
Side Table $17,550, Arm Chair $33,750

VALERIE KIRK
In 2018 I was artist-in-Residence at Corin Cottage overlooking the Corin Dam,
Namadgi National Park. The residency for me was all about water –from the clouds
rolling over the hills and rain falling, to thinking about the way the landscape was
submerged for the collection of Canberra water.
In 2018 it was obvious that low rainfall had caused the water level to recede
exposing a steep, barren slope around the rim. This delineated the volume of dark
water from the surrounding bush. It also made apparent the way that the water had
drowned all plant life.
While walking around the dam I picked up shards of shale and began drawing the
plants that could have been there before the dam – white gouache silhouettes like
ghosts of the plants that once were in the valley. “Dam Rim Fragments” evokes
previous vegetation submerged by the dam water.
Valerie Kirk studied art and design at Edinburgh College of Art and was captivated
by the creative process/infinite possibilities of the tapestry medium. In 1979 she
came to Australia to become a weaver at the Victorian Tapestry Workshop, and then
worked in all states of Australia before moving to Canberra in 1991 to be the Head of
Textiles at the Australian National University, School of Art. Her work from this time
focused on what it meant to be a Scottish/Australian in this context.
Valerie Kirk, Corin Dam Fragments, 2018,
shale and gouache on board, varied dimensions
Photo: Courtesy of the artist.
$540

XIMENA NATANYA BRICEÑO
Since childhood I have harboured a long fascination with Peruvian filigree jewellery
and its origins. I am interested in the history, social history and technical aspects of
filigree making in objects and jewellery. While completing my PhD, I applied laser
welding -a new technology- to a traditional metalsmith technique creating a new
vocabulary of filaments and metals. This process allows me to consider innovative
applications of new metals and materials. My current studio practice is diverse, it
investigates landscape and geography as an expression of location, migration and
identity. I predominantly work with reactive metals, ephemera, and silver casted
native botanical specimens.
Ximena’s core career interests lie in the history of art and its nexus with trade,
including the fine arts, crafts, jewellery and precious metal work developed by
different cultures. She grew up in Lima, Peru, where she had contact with native
artisans and their different techniques. In the U.S she studied at the University
of Florida while also working part time in the arts and crafts sector preparing for
a career in art history and decorative arts. Established in Australia in 2004, she
was awarded a PhD in Visual Arts in the Gold and Silversmithing workshop at the
Australian National University’s School of Art in Canberra in 2011. From 2013-2018,
Ximena worked part time as a cataloguer in a social history community museum in
the region. In 2016, she established her studio Ximena Joyas in Canberra, Australia,
and she continues to make, research and to collaborate with other artisans and
filigree makers of Peru producing small batch series of objects and filigree works
creating a transpacific collaboration.
Ximena Natanya Briceño, Native Flora II, 2019,
laser welded titanium, filigree silver cast leaves,
7 x 70 x 60mm. Photo: Courtesy of the artist.
$1,600
Represented by Bilk Gallery

ZOE BRAND
Born in Brisbane, Australia in 1984. Zoe Brand completed an Advanced Diploma
in Jewellery and Object Design at Design Centre, Enmore, TAFE NSW – Sydney
Institute. In 2014 Brand completed her Bachelor of Visual Arts majoring in Gold and
Silversmithing at the Australian National University. 2015 She finished her Bachelor
of Visual Arts with First Class Honours at the same university. Brand has exhibited in
many group shows in Australia, New Zealand, Thailand, Germay, France and Estonia
and her work is held in a number of significant private collections. Brand was also
the Director of the Personal Space Project, a gallery located in her bedroom.
Zoe Brand, Going cheap, 2019
edition set 1A-25A of 50, 85 x 130 x 3mm
Photo: Brenton McGechie
$59.95 each
Represented by Bilk Gallery