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Nurture, Members Exhibition 2022

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Nurture

Craft ACT: Craft + Design Centre annual members exhibition


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

Cover image: NOT, Young Frankenstein 2022. PhotoTim Bean


Nurture

Craft ACT: Craft + Design Centre annual members exhibition

| Adam Dossetor | Alice van Meurs | Anita McIntyre | Annie Trevillian |

Barbara Rogers | Brenda Runnegar | Bronwyn Sargeson | Cam Michael | Caren

Florance | Dianne Firth | Elliot Bastianon | Galia Shy | Gerhard Herbst | Helen

Keogh | Isobel Waters | Jennifer Robertson | Jeremy Brown |

Jo Victoria | Jono Everett | Judi Elliott | Julie Bradley | Kate McKay |

Kirandeep Grewal | Lea Durie | Lee Leibrandt | Luke Batten | Luna Ryan |

Michele Grimston | Minqui Gu | Monique van Nieuwland |

Nicola Knackstredt | NOT | Rebecca Selleck | Rene Linssen |

Robyn Campbell | Ruth Hingston | Sally Blake | Sharon Peoples |

Sophi Suttor | Sue Peachey | Tania Vrancic | Wendy Dawes | Will Maguire |

Ximena Briceno |

Craft ACT: Craft + Design Centre

8 September - 22 October 2022


NURTURE

Exhibition Essay

Has the word “nurture” gained wider currency in the past five years or so?

I found many definitions which were straightforward and only a few which I felt conveyed the

meanings as indicated by Craft ACT: Craft + Design Centre information given to exhibitors: “This

year’s Craft ACT members exhibition, Nurture, will celebrate and explore the ways that nurturing

ourselves is valuable and vital for contemporary craft practitioners, artists, designers and makers.”

They were also told that: “Nurture draws on the well-documented benefits of creativity and making

to support mental wellbeing by engaging in goal-oriented, repetitive sensory processes which can

calm the mind. Such activities have been scientifically proven to reduce stress and anxiety and

improve wellbeing. (Craftfullness, Tahsin & Davidson, 2018, Quercus).

In their artist’s statements several of the exhibitors concurred with these ideas.

A few people mentioned the importance of connectedness. Lockdown during the COVID pandemic

hurt us all. I was impressed with the way Craft ACT tackled the issues of members being isolated

and unable to sell their work – an important aspect of their income and an expression of how Craft

ACT nurtured its members. I am sure there were members, however, who felt the isolation more

acutely than others, particularly those who teach classes or who collaborate with others.

Several members referred to repetition and rhythm, and being in nature, often walking or undertaking

some other repetitive activity as a form of self-nurturing. Repetition “… replenishes myenergy and

calms my soul …”, one wrote.

Other sentiments included “tactile care”, “active and embodied meditation”. Several members

referred to the process of making and the immersive activity of hand working as being nurturing.

One member summed this up “… the making process is one of nurturing – at every stage the maker

physically holds the work …”. Or put another way, there is “… direct interaction with the subject and

materials.”

We have all had a different response to COVID and the lockdown. I hope not many people will have

felt a “ … sense of mistrust and separation internally towards ourselves …” as one exhibitor stated.

Exhibitors are all professional members of Craft ACT, meaning they have been acknowledged by

their peers as having achieved a high standard in their work – the design, its execution and overall

quality. I am a big supporter of setting such standards and congratulate Craft ACT for maintaining

this category of membership. As a result, we have an exhibition of outstanding quality.

Several exhibitors expressed an intellectual approach to their work in their artists’ statements. They

are thoughtful and express their concern for the future of our planet, as many other artists have

done – and will continue to do.

When it comes down to it, we are human and as one member stated: “through the act of nurturing

others, we inevitably care for ourselves, our plant and future generations.” Surely this is the main

point of an exhibition such as this.

We are all nurtured, one way and another, by the work in this exhibition.

Meredith Hinchliffe

September 4, 2022

Page 4: Elliot Bastianon, Patterns 2022. Photo Tim Bean

Page 7: Ximeno Briceno, Masks for thought 2022. Photo Tim Bean


Adam Dossetor

Wood | Associate Member

Biography

Adam Dossetor is a local Canberran designer

and maker. He creates functional pieces of

artwork that have an organic flow and sculptural

form. Both his practice of furniture making and

the pieces he creates are intended to nurture

artistic expression, well-being and a respectful

connection to nature.

Artist Statement

The study of form range emulates living things,

their parts and animation. Pieces in this range

are positioned at the intersection of familiarity

and alienness. The study of form side table

gently brings an awareness of nature into the

room, through its shape and its materials.

The study of motion range is inspired by organic

movement and animation. Pieces in this range

translate transient motions into a static form.

The study of motion coffee table captures a

tranquil moment from flux. This table works

equally well as a large side table and brings an

organic sense indoors.

Page 8: Adam Dossetor, Study of form side table. Photo Tim Bean


Alice van Meurs

Textiles | Associate Member

Biography

EDITION began during Alice Sutton’s final year

of studying Fashion at the Canberra Institute of

Technology in 2011. From there she worked in a

studio at CIT for graduate designers before setting

up a studio at the Australian National Capital Artists

(ANCA) Dickson campus for 6 years. Her current

studio in Waramanga ACT.

Each EDITION collection explores sustainable design

and zero waste pattern making. Alice’s zero waste

pattern making called ‘Selvedge to Selvedge’ has

informed the design aesthetic of EDITION. A key

aspect of the design process is uncertainty as the

final garments silhouettes are determined in the

process not through drawings.

Artist Statement

When designing this dress as part of my 2021

collection I was reflecting on how it had been 10

years since I created my 2011 graduate collection.

I was embracing how freely I designed back then

and continued with my key concepts including

family ties, stories and connection to family and

land. I focused on the lines of the garments and

look at how the shapes and silhouettes worked

on women of all ages and body shapes. The

fabric I used was Ikuntji Artist Mavis Marks

‘Women’s business story’ fabric designed in

Central Australia and then hand screen printed in

Sydney.

Page 10: Alice Van Meurs, Business dress Ikuntji Artist Mavis Marks 2022. Photo Tim Bean


Anita McIntyre

Ceramics | Accredited Professional Member

Biography

For over 40 years the Australian landscape has be

at the heart of Anita McIntyre’s ceramic practice.

Her porcelain clay panels and “boat” vessels

evoke a true sense of place as she continues to

explore narratives of journeying through space

and time .First hands observation and memories

of certain landscapes are combined historical

and topographical references ,allowing Anita to

visually express har her own personal relationship

with the land .This relationship is always

underpinned by a quiet acknowledgement of the

deeply spiritual connection between the land

and its indigenous owners . Recent work revisits

her family history and colonial ancestry with

expressions of her heart country the Kimberley.

Anita’s connection with the landscape, history and

environment of these locations is depicted via an

abstract language of text, gestural marking and

cultural symbols, creating a distinct and profound

impression of her journeys and experiences.

Artist Statment

The Incompatible Series was born out of a

collection of clay from China and Australia,

leftover bits of clay from various series of work.

The boat form has been a continuum in my

work for more than twenty years it represents

my journeys and, in this case, the different clay

bodies origin. Stretching the limits of the clays

compatibilities is the concept behind this work.

Page 12: Anits McIntyre, Incompatible Series Boat 2022. Photo Tim Bean


Annie Trevillian

Textiles | Accredited Professional Member

Biography

Annie Trevillian is a Canberra based artist

and designer with strong technical skills and

experience in textiles design and printing

including digital technologies. She has gained

recognition for her expertise and understanding

of Canberra’s social history through her practice

and teaching. She is well known for her motifs

and the use of layered colour and pattern on

paper and fabric. From magpies to treescapes,

Annie arranges each element into a pattern. For

the CRAFTACT exhibition Nurture, Annie has

brought together ideas and inspiration from her

garden which flourished during Covid 19.

Artist Statement

Canberra Journalist Kerry-Anne Cousins explains,

“ … I always admire the skilful way this artist can

bring together different shapes of objects and

arrange them into such harmonious designs

… “. Her artworks range from small scale (tea

towels) to large (digital prints placed within

architectural spaces) which provides her audience

with tactile works to hold or simply sit within a

space and contemplate in comfort.

Page 14: Annie Trevillian, Backyard 2022. Photo by artist


Barbara Rogers

Design | Associate Member

Biography

Rogers has gained international acclaim for her

work which has been exhibited in Australia and

internationally.

Artist Statement

“There is making after making.”

In Loopholes, disruptive patterning is achieved

by layering and stitching. In a process of adding

and subtracting, masking and revealing, textile

artist and designer, Barbara Rogers, incorporates

innovative shibori techniques with other traditional

resist-dye processes in her unique artworks to

create subtly varied patterns and rhythms that

work in harmony with the cloth.

Page 16: Barbara Rogers, Loopholes 2018. Photo Tim Bean


Brenda Runnegar

Associate Member / Mixed media

Biography

I am an artist currently living and working in

Canberra ACT Australia and working full time on

my my art practice as a multi-media artist. I have

a lifelong interest and commitment to the arts and

exhibit regularly in both Canberra and nationally.

I have been a Finalist in various high-profile group

exhibitions, including the Portia Geach Memorial

Award in 2018 and 2019 and the Waterhouse

Natural Science Art Prize, in which I received Highly

Commended Awards. The majority of my work

depicts the natural world from landscapes to still

life, but more recently portraits and textiles. My

work is included in various private collections, both

Nationally and Internationally.

Artist Statement

Amber and Friend is from my latest series of art

dolls or Textile Sculptures, which have evolved

over the past four years. They are not children’s

toys and are made for display purposes only.

They are both entirely handmade and each is

attached toa purpose-built stand. They are handstitched

with the use of recycled fabrics giving

new life to old treasures. Amber’s torso and

hands are made from air dried clay and painted.

The theme ‘Nurture’ is evident as she is displayed

with her friend.

Madonna and child is from my latest series of art

dolls or Textile Sculptures, which have evolved

over the past four years. They are not children’s

toys and are made for display purposes only.

Madonna is entirely handmade and seated on a

purpose-built stand. She can also be hung on the

wall and given the opportunity to be displayed in

varying positions and places. The theme ‘Nurture

is evident as she is displayed with her baby and

is entirely hand-stitched with the use of recycled

fabrics giving new life to old treasures. The

personality of both her and her baby is conveyed

by their drawn faces, untethered hair style and

the use of imperfections –visible stiches, vintage

textiles, and treasures collected from op shops.

Page 18: Brenda Runegar, Amber and Friend 2022. Photo Tim Bean


Bronwyn Sargeson

Glass | Associate Member

Biography

Bronwyn Sargeson is an artist who lives

and works on Ngunnawal/Ngambri Country

(Canberra). Bronwyn majored in glass at the

Australian National University and continues to

work with the material from her studio at the

Canberra Glassworks. Bronwyn utilises glass

to create compositions that abstract medical

procedures and reference bodily forms. Her

work seeks to translate the experiences of a

wounded body into moments of wonder and

playful exploration. Glassblowing is a method that

allows the artist to be present in the moment of

transformation and through active engagement

with the material, seeks to intervene in the same

way medical procedures are performed on the

human body. Challenging notions of beauty

often associated with glass, her work captures

the dissonance between distress and

awe, between the body as personal or medical,

seeking to realise the potential for transformation

in these moments of confrontation.

Page 20: Bronwyn Sargeson, Foreign Body 2022. Photo TIm Bean


Cam Michael

Glass | Associate Member

Biography

My making process is also a series of acts of

nurturing connectedness. I hand sculpt in clay,

hand build plaster molds, hand carve in wax,

hand build more plaster molds, watch my molds

as I steam the wax out, choose each piece of

glass individually and then when the glass is

out of the kiln regardless of whether I grind and

polish it by machine or hand, I am physically

holding the work at each stage. Each stage is like

a meditation on what I’m creating. This work was

made at Canberra Glassworks with support from

Luna Ryan.

Artist Statement

This work is about nurturing connectedness. In

subject, our ability to find connection and love

in a way that both simultaneously embraces

sameness but also transcends identity.

This work is about capturing some of the

joy of the ideal of having a garden. The feeling

of having plants in a space and how that can be

nurturing and create a feeling of home. By casting

the plants in glass I wanted to combine this with

beautiful colour and reflection in light, which is

constantly present and renewing.

Page 22: Cam Michael, The Garden, Prickly Pear, Succulent, Cactus 2022. Photo Tim Bean


Caren Florence

Paper | Accredited Professional Member

Biography

Caren Florance is an artist, designer, writer and

creative researcher. Her practice is informed by

material bibliography and book history. She works

predominantly with text, often collaborating

with artist and publishers. By using traditional

letterpress and bookbinding processes along with

more contemporary technologies, she produces

diverse works across the book arts spectrum, from

zines, artist books and installation work to formal

publishing outputs. She is collected by national

and international institutions (mostly libraries) and

private collectors. Her most recent commercial

volume is Lost in Case (Cordite Books, 2019).

Artist Statement

C:/Ovid: Changing to Survive is an artist book

made to bear witness to a very strange time.

In the quiet contemplation of one of our many

Covid lockdowns, my eye kept snagging on the

‘Ovid’ in COVID. Ovid’s Metamorphoses has many

contemporary critics but it’s essential theme is

change: attempts to survive under duress via

transformation. It’s what we’ve done, and also

what the virus has done.

I started making collages that mashed up objects

and people: eyes looking out from objects, bodies

with aerosol-inspired outputs. I also started

keeping what I’ve dubbed my Covidex: a running

list of overheard, found, and encountered texts

about the Covid-19 era. This text reels through

the years since 2020 indiscriminately, as the

index to an imaginary book about our collective

experiences. It rarely mentions dates; the alphabet

is the only system that continues to make sense

to me.

This artist book, DisRemembering, created for a

wider collaborative project called BookArtObject

6: LOSSED, was made while reading The Body

Keeps the Score, by Bessel van der Kolk (2014).

This keystone text for trauma recovery resonated

with my current experiences with trauma

mentoring through art practice. My method

of printing the back of letterpress type blocks

allows meaning to exist unread, and playing with

words within its weighty materiality allows me to

reflect on my family’s history of dementia, and

in particular my mother’s willing relinquishment

of her own trauma. I now have an heightened

understanding that forgetting is not always a

negative action.

Page 24: Caren Florence, C_Ovid Changing to Survive 2022. Photo Tim Bean


Dianne Firth

Textiles | Accredited Professional Member

Biography

Dianne Firth is a Canberra-based textile artist,

landscape architect and adjunct Associate Professor

in the Faculty of Arts and Design at the University of

Canberra.

Since the early 1980s she has moved from making

traditional quilts for beds to using textiles to

explore ideas, many informed by her training as a

landscape architect and observations of the natural

environment.

Using a process of abstraction she manipulates

light, line, color and texture to create mood and

movement. She is recognized nationally and

internationally through major exhibitions and public

collections.

Artist Statement

Intersection considers how, in troubling times,

many people are separated, go in different

directions, and become disconnected. Stitches

can bring them together, reconnect and mend.

Many small creatures seek sanctuary in long

grass. This abstracted composition of small

pieces of felt is held between 2 layers of net by

machine stitching.

Page 26: Dianne Firth, Intersection 2022. Photo Tim Bean


Elliot Bastianon

Wood | Associate Member

Biography

Elliot Bastianon 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 currently

undertaking a PhD candidature at the Australian

National University. His research is focused

on how the presence of mineral growth and

alchemical processes can provide new readings

on authorship. His work is also underpinned by

a desire to understand extractive processes and

subvert standard industrial practices to highlight

the entanglement of resources, geology and

chemistry.

Artist Statement

‘Patterns’ is a dining table that experiments with

surface finishing, non-traditional materials and

bold forms. The stout copper legs had a former

life as commercial water piping and were sourced

from scrap metal yards,bearingthe hallmarks of

time and weather. This introduces an element

of distance between the designer and the work

and invites chance and self-producing systems

to partake in the creation of thetable. ‘Patterns’

unashamedly celebrates a diverse material

palette and embraces production methods that

are technical and controlled as well as guided

by chance. The end result is a table that is novel,

exuberant and memorable.

Page 28: Elliot Bastianon, Patterns 2020. Photo PEW PEW


Galia Shy

Ceramics | Associate Member

Biography

My art practice has always been connected to

my wellbeing and self-care. My affair with art

started during my Ph.D studies, recommended

by my therapist as a means to release stress and

control my anxiety levels. I went through different

craBs, materials and methods until in 2016 I

encountered clay. I became completely fascinated

with the material and all one can do with it.

I enjoy pottery because it is both physically and

intellectually challenging. There is a magic in the

unpredictability of the firing process. It forces you

deeper into the process, to let go and see what

happens.

When I produce pieces I like, it is like an

accidental self-blossoming in the work. I mainly

wheel-throw my pieces and the #me I spend on

the wheel is when I replenish my energy and calm

my soul. This process of nurturing, that is the

process of making, is made real in the physical

objects that emerge. I hope that what I produce

have the same affect on the viewer.

I am drawn particularly to techniques like

Raku and Saggar, that enhance the element

of serendipity, in which something new and

unpredictable is born from heat and earth.

My pieces are decorative, untamed, rustic and

earthy. heir shapes are influenced by the ancient

clay artefact found in archaeological sites and

presented in museums around the Mediterranean.

They are never perfect or refined, which is also

in line with my Buddhist philosophy of accepting

things as they are.

Page 30: Galia Shy, Jug 2022. Photo Tim Bean


Gerhard Herbst

Jewellery | Associate Member

Biography

My affair with arts started during my Ph.D. studies

when my therapist recommended it to release stress

and control my anxiety levels.

I have tried drawing and painting, adopted glass as

a material of choice however when I came across

clay, a couple of year ago, it became clear to me that

I have found my home.

As a past scientist, I was extremely happy to find

that working with clay is a grand playground for

experiments. Clay lets one feel like you have some

control over it but it never gives itself completely.

Glazes, the next step in the process are even less

predictable.

I love that anticipation, after the kiln is closed off

and left to cool and the excitement of opening

the door to find what the kiln gods have created.

Something different, every time.

Artist statment

My practice explores jewellery’s role as a sender

of messages and conveyer of information. My

light-based installations encourage viewers to

look beyond the physical piece, as simply an

object of adornment and in turn, reconsider

the boundaries of the medium. Seedlings is a

metaphorical representation for both our present

and future world. As guardians of this Earth, we

sow and nurture the seedlings in our care, and in

return receive physical and emotional sustenance

from natures’ growth and regeneration. Seedlings

provide hope. It helps us develop a narrative for

the future. Through the act of nurturing others, we

inevitably care for ourselves, our planet and future

generations.

Page 32: Gerhard Herbst, Seedlings 2022. Photo Tim Bean


Helen Keogh

Textiles | Associate Member

Biography

Helen Keogh is an artist, designer and maker behind

Helen Keogh Designs, a luxury handwoven business

run in Canberra, Australia. Helen has a background

in graphic design and communication management

and has always run her own freelance businesses.

This latest venture into luxury textiles began two

years ago and has been developing steadily.

Helen loves to honour the tradition and history

of the practice of weaving whilst bringing a

contemporary edge to classical patterns using

beautiful luxury fibres. She is passionate about

creating unique modern heirloom pieces that can

be handed down through generations that leave a

light footprint on the earth.

Artist Statement

This is a portrait of Professor Elizabeth

McMahon; academic, author, and a guardian

of contemporary culture through her work and

outreach in Australian literature. Portraits are

traditionally created through paintings, drawings,

photography, and more recently the selfie. This

piece uses hand weaving and embroidery in the

form of a bookmark to link McMahon’s portrait

with her award-winning book, Islands, Identity, and

the Literary Imagination. The piece is a reaction

to the role of social media, in particular the selfie,

in creating a culture that relies on simple, insular

images that aim to define who we are.

Solitude uses the age-old and slow hand craft

of stitching and thread to create a portrait. The

figure of the woman in the image tries to capture

the feeling associated with aloneness or solitude

which is very much the state the artist was in

when creating this piece. In producing this piece

the artist examined the qualities of solitude as

part of an artistic practice.

Page 34: Helen Keogh, Portrait of Professor Elizabeth McMahon. Photo TIme Bean


Isobel Waters

Glass | Associate Member

Artist Statement

Throughout my glass practice I have explored

different aspects of the human body and my own

personal experiences as a front-line healthcare

worker. Since the arrival of the COVID-19

pandemic, society has been instilled with a

sense of fear and anxiety about the body. We no

longer trust that a cough is just a cold and not

a deadly virus. COVID-19 has fostered a sense

of mistrust and separation between individuals,

as well as internally towards ourselves. Rest In,

Rest Easy aims to represent the body as a place

of sanctuary and safety. I wanted to use glass to

help visualize how the body is our protector and

constant companion. Anthropomorphic glass

forms rest in the curves and folds of my body,

finding a safe place in which to nestle, like a child

held by their parent. It represents the kind of

tactile care that I craved most during the social

and physical isolation of lockdown, acting as a

reminder of all that my body does for me.

The tactile nature of ceramic wheel throwing

encourages an inherently mindful creative

practise. Since pre-pandemic times, I have drawn

on ceramics to focus my mind and body towards

a slow and intentional making process. My hands

connect to the clay, which in turn brings my

thoughts back into the present moment. Each

step in the process calms me and connects me

to myself. I believe that even in their completed

state, these handmade objects are instilled with a

sense of agency that encourages the user to pay

attention and be in the moment.

Page 36: Isobel Waters, Rest In Rest Easy 2022. Photo Tim Bean


Jennifer Robertson

Textiles | Accredited Professional Member

Artist Statement

Early explorers in the vcience of Geology adopted

ancient weaving nomenclature as analogist to

describe what they were observing. In recognition

of this history, Jennifer Robertson has opened a

dialogue incorporating the latest technological

developments in inorganic and mineral fibres

to speak of geological phenomena with original

woven sculptural and poetic works. Matter here

is intelligently woven, a matrix that exhibits

phenomena of fine-grained rock, crystal and

gem substances. These are poetic distillations

that also explore time, wind and water erosion

in shimmering undulations and crevasses. By

nurturing matter through craft, design and artistic

processes, innovative and unique works are

formed.

Page 38: Jennifer Robertson, Matter and Matrix 1, 2, 2022. Photo Tim Bean


Jeremy Brown

Wood | Associate Member

Artist Statement

These pieces form part of Jeremy Brown’s most

recent body of work, Home Grown, celebrating

the street trees of Canberra, and allowing

appreciation of some of the more hidden

aspects of its natural beauty. By combining

two main threads of practice, furniture making

and botanical illustration, these works create

a juxtaposition between the natural and built

environments, bridging the disconnect between

the origins of raw materials and a final product.

The design elements in the timber stool draw

inspiration from iconic local architecture and the

timber has been salvaged from felled Canberra

Street trees. The minimalist aesthetic allows the

inherent beauty of the material to take centre

stage. Accompanying the stool is a watercolour

botanical illustration, representing the living

specimen in a way that might be more familiar

to the viewer. These paintings are observational,

painted from life, and aim to accurately depict the

plants as they grow on our streets. In contrast, the

design of the furniture is abstracted and shaped

by the maker’s hand, taking inspiration from the

human made. This contrast between design-bynature

and design-by-human is both a tool for

linking raw materials to their final product, and

an ode to the harmonious existence of the two

elements in Canberra’s own streets.

Page 40: Jeremy Brown, River Oak Botanical Illustration 2022. Photo Tim Bean


Jo Victoria

Ceramics | Associate Member

Biography

My art practice explores ideas of place and

focuses on the influence of living close to the

ocean. Unglazed porcelain captures an essential

quality of this experience. The whiteness and

translucency of this material produces similar

qualities to bleached bones, fossils and broken

shells found on the beaches and rock platforms

on the ocean’s edge. Porcelain sculptural works

feel fossil like in the way that they capture the life

essence of once living things in this environment.

I use light in my work to portray a sense of

ephemerality. The way light interacts with

the materiality of porcelain enhances ideas of

fragility, strength and the influences of deep time.

I have also developed a series of glassy glazes

that create a sense of watery ocean light in the

works. A natural extension of my practice is to

introduce glass as a material that references and

deepens the experience of these ideas. In these

new works I aimed to mix porcelain and glass to

bring another dimension to my work where light

transfers, intersects and interrupts relationships

between the forms to create an immersive

experience to the exhibition.

Artist Statement

The collaborative opportunity to share skills

and material knowledge with glass artist, Robyn

Campbell has been a luxurious and stimulating

creative process that has extended both our

practices beyond what individual solo shows

could have provided. Our of the love of purity

of glass and porcelain and their respective

interactions with light have been the platform

to push our art practices to new and exciting

possibilities.

This exhibition aims to provide an experience

through shimmering reflections, shadows, and

translucency of the materials in the works,

where the individual objects themselves almost

disappear as they dissolve in the lightness of an

immersive whole, and where the calm feeling of

being near the ocean washes over us.

Page 42: Jo Victoria, Nesting 2022. Photo Tim Bean


Jono Everett

Wood | Accredited Professional Member

Artist Statement

Having spent late summer assisting the flood

affected people of Lismore where people’s lives

were both physically and metaphysically washed

away, I discovered folk were either driven or,

unexpectedly, chose to start completely new lives.

Walk a new road.

Hope is never lost.

Page 44: Jono Everett, Life 2022. Photo Tim Bean


Judi Elliot

Glass | Accredited Professional Member

Artist Statement

I know what shape I am... metaphorically

speaking. I am 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 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 recreate these feelings in

my walls and buildings. My structures can stand

alone but gain strength with 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.

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.

Page 46: Judi Elliot, Graffiti on the Wall 2020. Photo Tim Bean


Julie Bradley

Mixed Media | Accredited Professional Member

Artist Statement

In this work I am travelling abstractly, emotionally,

metaphysically along a way of understanding.

Resolving a way forward compositionally -

travelling through the composition and the

artwork visually. Showing a way through-revealing

a direct path -finding the solution to a puzzle –

slowly a way becomes apparent.

Lines are repeated to provide rhythm and

repetition of line and cross hatching, sooth and

find their own way in the work - comfort and

discovery.

This work technically is process driven. Placing

paper pieces, shapes, arcs and lines and forms

create a platform to then work or walk through –

physically finding a way through the composition.

Distance is travelled and time is passed.

Page 48: Julie Bradley, Whispers in The Way 2021. Photo Tim Bean


Kate McKay

Ceramics | Associate Member

Biography

Kate McKay is a regional ceramic artist with

her studio on Ngunnawal country, very close to

the village of Collector and not far from Lake

George, Weereewa. McKay’s foundational practice

predominantly revolves around an intense focus

on process. While McKay is mostly known for

her stoneware cups, plates and bowls and other

functional objects, the black ceramic leaves

proposed for this exhibition represent a departure

from and exploration beyond the functional

realm. The inspiration for making these was for

the love of this dark clay and looking into the fire

and seeing the leaves float away as embers. The

process of making these is nurturing, as McKay

interacts directly with her subject (the leaves) and

her material (clay), bringing the beauty of the leaf

as a mark on the clay. The decay of the leaf can

also be captured so well in this process, it’s about

life and death, and the cycle that exists around us.

As McKay states, “clay can lend itself to the patina

of age, and I find that very beautiful.”

Page 50: Kate McKay, Nobody Leaves 2022. Photo Tim Bean


Kirandeep Grewal

Textiles | Associate Member

Biography :

Kirandeep is a visual and textile artist with

extensive international experience in several parts

of the world, currently based in Canberra. She

creates wearable art in silk that is free-flowing,

colourful and light. The colours and designs

she uses are inspired by the Australian flora and

fauna and her travels around the world.

The silk painting is all freehand. The silk is also

dyed by combining various dyeing techniques

(Shibori, indigo dyeing from Africa and Indian

dyeing techniques). Kiran uses ecologically

friendly techniques to minimise wastage of water

and dyes. Some of the silk designs incorporate

needlework and freehand machine embroidery to

make thread a part of the design. Various printing

techniques are also introduced for wall hangings.

Artist Statment:

A woman’s journey reflects strings of

relationships through which she ends up with

various roles and responsibilities. The silk strings

(recycled silk) represent the life and various

relationships that transform the inner being of

a woman. The rhythm of making the strings

is a slow and nurturing process, done over

family conversations and watching television.

Some of these relationships are also strong and

meaningful enough for her transformation as

she goes through her life. As colours are added,

they mark the length and effects of previous

relationships. The colours on the mask speak

about her personality and her transformation. Her

eyes hold some moments of life within her, giving

her inspiration and strength. The mask reflects

her presence, her experiences, her strength and

her learning as she evolves through her life’s

journey.

Page 52: Kirandeep Grrewal, Custodians 2019. Photo Tim Bean


Lea Durie

Ceramics | Associate Member

Artist Statement

Tracks takes you on a journey through the

landscape, feeling along pathways in search of

relief. The work is a response to the drought and

bushfires that surrounded the Braidwood area in

the summer of 2019-20. Tracks lead to water and

survival after the devastating impacts of climate

change seen that summer, rather different from

the waterlogged environment of 2022.

Page 54: Lea Duries, Tracks 2022. Photo Tim Bean


Lee Leibrandt

Textiles | Associate Member

Biography

My art practice combines the two most

significant ways of nurturing my creativity, nature

walks and tapestry weaving. Getting outside,

going for a hike, this helps ground and inspire me.

To translate that sense of place to tapestry by way

of an age-old process –the over-under of the weft

across the warp –is an act of mindfulness. It’s

good for the soul.

Artist Statement

In Bloom is a spring-time memory, reminiscent

of ducking under the buzz of flowering gums

and winding through lush overgrown trails at

Mount Majura Reserve. It is displayed upon on a

salvaged river redgum timber block, fashioned by

my father.

Woods for Trees is a recollection of wintery walks

through Mount Majura Reserve; of blackened,

twisty woodland and muted ground cover. It is

displayed upon on a salvaged river redgum block,

fashioned by my father.

Page 56: Lee Leibrandt, In Bloom and Woods for Trees 2022. Photo Tim Bean


Luke Batten

Wood | Associate Member

Artist Statment

Swell.

A beautifully handcrafted Vide Poche.

In its design, Swell considers pattern, rhythm,

(the illusion of) additive manufacturing, and the

juxtaposition between simplicity and complexity.

Swell is a sensual display surface for small loose

items such as rings, earrings, and perhaps a

necklace. Arousing touch, its elegant design

is derived from the regular rhythm, yet subtle

variation found in the ocean.

Crafted from workshop offcuts using traditional

hand tools and machines, Swell expresses the

possibilities of both waste materials and of

low-tech manufacturing processes, creating an

object of desire, sophistication, and beauty. Swell

is batch produced, demonstrating accuracy,

precision, and efficient material use.

Designed and handmade by Luke in Canberra,

Australia.

Page 58: Luke Batten, Peaks Jewellery Dis 1, 2, 2022. Photo Tim Bean


Luna Ryan

Glass | Accredited Professional Member

Artist Statement

As a nest which lies comfortably but at the same

time precariously. so it can be with nurture, too

much, too little, too short, just right as it is.

Page 60: Luna Ryan, Nestled 2022. Photo Tim Bean


Michele Grimston

Textiles | Associate Member

Biography

Michele Grimston a visual artist and community

cultural development practitioner. She works

primarily with fabric and threads and is interested

in the cultural value of processes which are slow,

repetitive and honour the value of labour in the

creative process.

Her practice explores how these processes can

function as a vehicle for interpersonal connection

and personal reflection and the repetitive markmaking

acts as a physical trace of the time spent

in these reflective and connective practices.

Fundamental to her work is the idea that investing

time, attention and care in simple practices

creates relationships and objects of great

meaning and value, which enrich the fabric of our

lives and increase our capacity to care for others

and the world.

As the world fundamentally shifted around

us in 2020, the pressure to be all things to all

people suddenly intensified. Digital tools were

instrumental in helping us stay connected, even

as they allowed work to encroach on our personal

space, ensuring that labour is possible under any

circumstance.

Artist Statement

In a lament for a missed opportunity for

collective rest during the COVID pandemic, this

work celebrates the value of the human and the

handmade – by lovingly hand executing a single

line program of BASIC code from the 1980s. This

computer program auto-generates an infinite,

labyrinthine pattern made up of the keyboard

strokes / and \. Recreating this playful but

ultimately useless digital request by hand became

an active and embodied meditation, and a quiet

protest against the unquestioning assumption of

digitally enabled productivity amongst collective

trauma.

Page 62: Michele Grimston, An Offering to the Productivity Gods 2021. Photo Tim Bean


Minqui Gu

Mixed Media | Associate Member

Artist Statement

The series, Embossed, is one of my recent

experiments with bioplastics. The work is made

from individualised bioplastic recipe with a mould

inhibitor and colour pigments. It is heated and

whisked to achieve the desired consistency, then

poured onto a textured surface for embossing.

The work is then cured for approx 7 days. A

sterling silver brooch back with a stainless steel

pin is custom made. The piece of bioplastic is

riveted onto the brooch mechanism.

The series, Soap, is one of my recent experiments

with bioplastics. The work is made from an

individualised bio-plastic recipe with a mould

inhibitor and two types of soap. It is heated and

whisked to achieve the desired consistency, then

poured into a mold. The work is then cured for

approx. 10 days. A sterling silver brooch back with

a stainless steel pin is custom made. The piece of

bioplastic is riveted onto the brooch mechanism.

Page 64: Minqui Gu, Soap and

Embossed 2022. Photo Tim Bean


Monique Van Nieuwland

Textiles | Accredited Professional Member

Artist Statement

At Our Table – Drifting Apart, is one of a series

responding to heirloom embroidered tablecloths

addressing family dynamics symbolised by

circles as used in Venn diagrams. Togetherness,

gathering, finding common ground, drifting apart,

estranged.

My handwoven scarves, like Bubble Scarf,

embrace, warm and caress the body. Creating

scarves allows me to playfully experiment with

colour and texture.

Page 66: Monique Van Nieuwland, Bubble Scraf Red and Blue 2022. Photo Tim Bean


Nicola Knackstredt

Accredited Professional Member / Glass

Artist Statment

As someone with a part time practice, my ‘making

days’ in my studio feel like an indulgent escape

from reality: they are the days where I nurture

myself through my practice without the intrusion

of routine and the pressures of daily life.

On my studio days, I surrender to the rhythm of

making. Nothing I do is dictated by the clock;

rather, it is dictated by the nature of the materials

I work with. Time is measured by how long it

takes to saw something, to solder something,

to pickle something, to polish something. I take

breaks when my body begins to hurt, or when my

blood sugar gets too low to hold the torch or saw

blade with accuracy. I stop because I know that

if I continue, I may wreck the piece I am working

on. Eating and drinking become a necessary

inconvenience when I am in the studio. This may

sound austere, but for me, my time in the studio

is a practice in flow. I am so absorbed in creative

self-expression that I forget everything I am

conditioned to do when I am outside the studio,

including eating.

My studio is a place where I nurture my creativity

and playfulness, and it is a place where no idea is

a bad idea, because creativity and playfulness are

simply an exploration of my self-expression. This

piece is just that, another playful idea, another

form of self-expression.

Page 68: Nicola Knackstredt, Play 2022. Photo Tim Bean


NOT

Glass | Associate Member

Artist Statement

In Mel Brooks’s Young Frankenstein (1974), the

film’s eponymous doctor ascends, about to turn

the switch on his creation, nurturing life with a

series of lightning bolts: ‘We shall command the

thunders and penetrate into the very womb of

impervious nature herself!’ Having attended a

neon masterclass with Richard William Wheater

at Canberra Glassworks in 2016, the artist NOT

began to discern a similar and unpredictable play

of forces in this light-giving artform –thrilling,

terrifying and sometimes comic, which in his own

version of Young Frankenstein (2022) sees ionised

argon gas and neon-bombarded glass tubing

transformed by an electrical charge, pulsating with

life. Technical support by David Cooper; courtesy

the artist, and KRONENBERG MAIS WRIGHT.

Page 70: NOT, Young Frankenstein 2022. Photo Tim Bean


Rebecca Selleck

Mixed Media | Associate Member

Artist Statement

How do we stop being human? I want to know

what exists beyond the limits of my perception.

A long way from home, I slip away from routine.

The plants are the same, but different. The rocks

jut with unfamiliar strata and insects make homes

in strange symbiosis. There are moments that

feel like bliss, walking through special places,

losing myself in things I find. Leaves, bark,

seedpods, blossoms, strange growths on plants,

rocks, shells and sticks. Each one is more than

an object, its touch an exploration of biological

and geological histories stretching back further

than I can fathom and their surfaces layered

with intricate ecological interactions. Each object

opens a networked history through time in that

space that I can try to understand, but that’s

ultimately beyond my comprehension. When I

hold each one against my chest, it feels like that

beautiful complexity becomes part of me.

I want to share that: that moment of bliss. To

express their value I’ve taken the ordinary and

fleeting and made them golden. Now they speak

human, but what’s been lost in translation? The

moment has passed and the object a facsimile

formed from surface indentations, with no atoms

left of the original, becoming just a permanent

reminder of the ephemeral. In trying to escape

what feels human I ultimately do things that are

so human.

These pieces are portals into the beautiful

complexities that exist all around us and a

weighted reminder that we can’t escape being

human. We are just our perceptions. But

sometimes that can be beautiful anyway.

Page 72: Rebecca Selleck, Long Banksia Pod. Photo Tim Bean


Rene Linssen

Design | Associate Member

Biography

René loves the challenges of Industrial Design,

finding a way to improve people’s lives with

a product that satisfies a need and 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 influence in

shaping the world we live in.

Critical and creative thinking are important aspects

in René’s design work. When designing any product,

René must consider manufacturing restrictions, cost,

materials, sustainability, mechanics, technology, etc.

to ensure the design functions effectively. At the

same time, he must consider form, colour, finishes,

etc. to help enhance the function and create a

connection with people.

René uses 3D modelling software extensively in

his design process which helps ensure his work is

responding to technical requirements and allows for

precise details to be specified and communicated

to manufacturers. 3D modelling is also a powerful

visual communication tool that can be used for both

the creative and technical aspects of design.

Artist Statement

Sit down. Be humble.

Humble is a solid timber stool with strong yet

playful proportions. Designed and made in

Canberra, Australia.

Humble will soon be available as part of the

Furnished Forever product range-furnishedforever.

com.au

Page 74: Rene Linssen, Humble Stool 2022. Photo Tim Bean


Robyn Campbell

Ceramics | Associate Member

Artist Statment

‘Inner world ’encloses a space where light is

trapped and reflected. I aimed with this piece

to create a meditative, serene space where the

tangible and intangible connect. There are the

extremes of light and dark in this piece with

reflection creating the sense of another space

blow the surface of the glass. ‘Inner world’ has

subtle references to the natural world, it has a

simplicity of form but a complexity of light.

‘Blaze#2’ came from the experience of walking

through burnt forest after the 2020 fires. It is a

simple work, representing red/orange sap and

blacked trees. Sap is the life blood of a tree. ‘Blaze

#2’ is about destruction but also life.

Page 76: Robyn Campbell, Inner World 2022. Photo Tim Bean


Ruth Hingston

Textiles/Associate Member

Artist Statement

The immersive activity of hand stitching is an

energising experience for me. Besides the love

of the threads and colours, the simple action of

repeatedly dipping a needle into a piece of soft

fabric is a favourite aspect of my embroidery

practice. Knitting can be the same. By simply

engaging with beautiful yarns to form stitches and

construct a fabric creates a place of stillness in

my day. Both these activities offer a basis of calm

that nurture a sense of wellbeing in my life. It is an

essential ingredient in my textiles practice.

During the Lockdowns, I continued to reflect on

my residency in Belgrade 2018 and explore new

work. This residency continues to influence my

practice. I began a series of embroidered works on

the decorative patterns based on my discoveries

while wandering through Belgrade’s old city. I had

observed many patterns constructed with stylised

motifs as a decorative element in this urban

environment. I was intrigued by the prevalence of

pattern on the city’s buildings. Often I saw motifs

used to create patterned screens as window

and door fortifications. Decorative elements are

generally not used in modern western architecture

or urban Australian environments.

‘Black and Bling’ was a strong theme for Belgrade

fashionistas Winter Street wear in 2018. Outfits

were predominantly black with decorative touches

and patterns highlighted with sequins, crystals,

mirror pieces, jewellry. Anything that sparkled

was used. The Night life on the Sava River with its

floating nightclubs teemed with special lighting.

Again, it was a theme of light sparkling against the

darkness.

Page 78: Ruth Hingston, Belgrande Patterns 2022. Photo Tim Bean


Sally Blake

Textiles/Associate Member

Artist Statement

Web

Web explores the interconnected whole, the vast

entangled web all living and non-living things are

part of. The woven language of textiles, in which

nets, meshes and webs are created, provides both

a visual and physical means for exploring ideas of

interconnection.

At a personal level my mind roams free while my

hands are busy weaving. The wire is very fine

and many, many repeated movements made this

work. The small repeated actions create a calming

affect as they slowly build into the whole.

Indra

Indra’s Net explores the interconnected whole,

the vast entangled web all living and non-living

things are part of. The woven language of textiles,

in which nets, meshes and webs are created,

provides both a visual and physical means for

exploring ideas of interconnection. I have used

the Buddhist metaphor for the interconnection

between all things—Indra’s Net—as a visual

reference point for my own investigations. Indra’s

Net is an infinite net in which a multi-faceted jewel

is hung at each node, each jewel reflecting all

the others in the net. Tibetan Buddhism teacher

and master Yongey Mingyur Rinpoche writes,

“since the net itself, the number of jewels, and the

facets of every jewel are infinite, the number of

reflections is infinite as well.”

At a personal level my mind roams free while my

hands are busy weaving little jewels for this work.

The small repeated actions create a calming

affect as they slowly build into the whole.

Page 80: Sally Blake, Indras Net. Photo Tim Bean


Sharon Peoples

Textiles/Associate Member

Artist Statement

This is a portrait of Australian artist Julie Ryder.

In recent years Julie has been researching

Victorian albums of seaweed collections. They are

much sought after by museums and specialist

collectors. Julie also collects seaweed making

intricate and delicate artworks related to these

fascinating plant structures. Her knowledge is

extensive. I have accompanied Julie collecting

along the southern coastline of New South Wales.

This work reflects the delicacy of seaweeds by

machine stitching on soluble fabric. This leaves

lace-like tracery. As well I am documenting Julie’s

thought processes that may be going through

while she is on the beach.

Page 82: Sharon Peoples, The Seaweed Collector 2022. Photo Brenton McGeachie


Sophi Suttor

Ceramics | Associate Member

Artist Statement

My work examines the loss of habitat and our

concept of identity. Replacement by the generic

diminishes who we are. I produce fragments of

Australiana as a demonstration of how easily we

lose the detail and cultural stamp of our personal

landscape. I retrieve fleeting images of travelling

in the country on endless dirt roads in the heat,

passing through small country towns.

I am researching Australiana ceramics that

produce uniquely Australian images and prosaic

generic images such as historical examples like

as Wembly Ware Works are lush to highlight how

easily we are seduced by pretty things. I work in

earthenware and low fire clear glaze. Works are

the dreams we have that transport us.

I use lots of generic items to highlight how readily

we accept the generic. This acceptance erodes

national identity and leads to the devaluation of

all things native to Australia. The devaluation of

the personal process is aided and abetted by

globalisation.

I am a classically trained artist from the National

Art School East Sydney. I have a long history of

teaching in the secondary and tertiary contexts. I

exhibit at the Canberra Potter’s Society and Craft

ACT. I am now concentrating on my personal

practice. I have a fully equipped workshop so that

I can work from home. I have a disability. I am in a

wheelchair. I pot every day.

Page 84: Sophi Suttor, Black Dromaius Nougehollandiae 2022. Photo Tim Bean


Sue Peachey

Ceramics | Associate Member

Biography

Sue Peachey is an emerging ceramic artist who hand

builds in coloured porcelain using the technique

of nerikomi. Appreciation and gratitude for all that

sustains us on planet Earth and her love of the

natural world are recurrent themes in the ceramics

she creates. Sue was awarded the CAPO - Craft ACT

Emerging Artist Award and the Canberra Potters

Society - Keane Ceramics Emerging Artist Award,

both in 2021. Based in Canberra, she is originally

from New Zealand and brings a background in

landscape design, permaculture, and poetry to the

work. Since June 2020 River’s Edge Ceramics has

been located at Studio 7 at the Canberra Potters

Society.

Artist Statement

This is the first of a series of ceramic works,

each responding creatively to one of the twelve

principles of the regenerative earth care system of

Permaculture. This piece responds to the principal

Design from patterns to details and encourages

us to step back so we can observe the patterns in

nature and consider the bigger picture.

By mapping the contours of local mountain

Majura, we can see the broader landscape and

its patterns and, while each mountain is unique,

there are universal similarities that govern the

structures of all Earth’s mountains regardless

of size, age, and origin. For example, mountain

ridges form large, branched structures resembling

a tree. The main ridge is the ‘trunk’. Side ridges

form off the ‘trunk’, the ‘first order branches’,

and from them further side ridges occur ‘second

order branches and subsequent ones off them

again and again. Water drainage pathways on

mountains follow a similar dendritic structure.

Page 86: Sue Peachy, Moonrise Mount Majura 2022. Photo Tim Bean


Tania Vrancic

Ceramics | Associate Member

Artist Statement

For some time now I have been pursuing freedom

in my work. I have found that my best work is

made when I am ‘in the zone’ having fully let

go of any inhibitions, preconceived ideas and

expectations, taking risks to push the boundaries

of my practice further. Music is crucial in taking

me to a place of freedom where I create out of

intuition rather than logic. Intuitive brushstrokes,

sgraffito and ceramic pencil mark making relate

to the long walks on Red Hill over the lockdown

season we have recently come out of. During

my walks I began picking up and photographing

leaves in their various shapes and stages of

decay, it soon became a leaf obsession. In my

work I enjoy abstracting both the distant view as

well as the details such as leaves.

Page 88: Tania Vrancic, Freedon is Gold 2022. Photo Tim Bean


Wendy Dawes

Paper | Associate Member

Artist Statement

This work explores the fallibility of individual and

collective memory. By using pages torn from

books folded into boxes, disordered, and rendered

unreadable, memory is revealed as a paradox of

order and chaos.

Page 90: Wendy Dawes, I’ll write that down 2022. Photo Tim Bean


Will Maguire

Metals | Accredited Professional Member

Artist Statment

As a blacksmith I work with hot steel as I feel

the forging process brings out the inherent

characteristics of the metal itself. More recently I

have been combining other materials and finding

it really exciting. These old bricks, commonly

known as ‘convict bricks’ are visual ecosystems.

They simply stand embraced within a hand forged

steel cradle alive with a sense of being. I wanted

to celebrate the inherent vibrance of what can

be seen as mundanely practical materials, in this

case common old bricks and regular steel bar.

I wanted to simply see them and feel good about

it.

Page 92: Will Maguire, Brick Forms2022. Photo Tim Bean


Ximena Briceno

Metals | Accredited Professional Member

Artist Statment

Since childhood I have harboured a long

fascination with filigree jewellery and its origins.

I am interested in the history, social history and

technical aspects of filigree making in objects and

jewellery. I apply laser welding process to a timehonoured

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.

Capricho Azul II, a necklace for “Ken Behrens”

in Lockdown, is a series of work developed as

consequence of lockdown while in Canberra

in 2021. In this work, I returned to the basic

technique of filigree in titanium, creating circles

as roundabouts encountered in the city, but

also served as a metaphor to contingency plans

developed and applied for a time.

Australia has always been at the vanguard even

when wearing masks. Australia began wearing

masks and respirators in the ACT early in

December 2019 as the devastating fires of what it

is now known as the Black Summer 2020 creeped

on. Later, a global pandemic hit the world, and

the face mask became ubiquitous yet required

accessory for protection. In this instance, I

recurred to the Eucalyptus leaf and started once

again roll-printing as I did it 16 years ago. I reflect

in the challenges we have ahead, and I find

inspiration from the beauty found in landscape I

am surrounded by.

Page 94: Ximena Briceno, Capricho Azul 2022. Photo Tim Bean


Harriet Schwarzrock

Metals + Glass | Associate Member

Biography

As a visual artist interested in biological systems

and connectivity, Schwarzrocks practice has

recently embraced creating neon and plasma

elements. This vibrant form of illumination has

developed in step with her material knowledge of

glass. Drawn to glass’ ability to contain and give

form to the invisible, recent explorations have

embraced interactive illumination to describe the

subtle electricity within our bodies.

Her practice draws upon cycles of respiration

and circulation, embodied yet often invisible.

Schwarzrock is magnetically drawn to the

material language and plasticity of molten glass

for its ability to give form to these intangible

cycles. Fascinated by its ability to contain the

ethereal, whilst continuing to learn about this

exacting material has become a catalyst to

explore interactive illumination.

Artist Statement

My inter-disciplinary artistic practice

predominantly traverses blowing glass and

making responsive luminous forms. Drawing

upon the traditions of glassblowing and the neon

trade has offered me a way to activate the interior

of my glass forms, encasing a mesmerising

phenomena within. Referencing cycles of

breathing and circulation within my work locates

me in the present moment. I am fascinated by

transmutation, flux, and interconnectivity, in

seeing materials, systems and matter change

in relation to energy, the atmosphere and each

other.

Page 96: Harriet Schwarzrock, Transitory 2022. Photo Brenton McGeachie

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