2022 Robert Foster F!NK National Metal Prize

2022 Robert Foster F!NK 

National Metal Prize 

Craft ACT: Craft + Design Centre

Craft ACT: Craft + Design Centre is partial 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 acknowledges the 

Ngunnawal people as the traditional custodians of the 

ACT and surrounding areas. We honour and respect 

their ongoing cultural and spiritual connections to this 

country and the contribution they make to the life of this 

city and this region. We aim to respect cultural heritage, 

customs and beliefs of all Indigenous people. 

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: Portrait of Robert Foster. Photo by Damian McDonald.

2022 Robert Foster F!NK 

National Metal Prize 

Alison Jackson | Bic Tieu | Gretal Ferguson | Johannes Kuhnen | 

Jonathon Zalakos | Kirsten Haydon | Larah Nott | Lindy McSwan | 

Oliver Smith | Sean Booth 

Craft ACT: Craft + Design Centre 

27 October - 10 December 2022

Image: Portrait of Robert Foster with Ossolites, 2010. Photo by Eddison Photographic Studio.

2022 Robert Foster F!NK National Metal Prize 

Craft ACT is honoured to present the new 

Robert Foster F!NK national metal prize, 

supported by the Tall Foundation and F!NK + 

Co Director, Gretel Harrison, and Craft ACT: 

Craft + Design Centre. 

The award will celebrate outstanding work 

in the field of contemporary metal working 

by designers and craftspeople - both 

established and emerging. In recognition of 

the value of high-quality craft making skills, 

good design and innovation ten artists will 

be selected and have their work exhibited in 

the popular DESIGN Canberra Festival. From 

the finalists, three makers, representing an 

established artist, an emerging artist, and 

an acquisition, will be selected and awarded 

generous cash prizes. 

This program is generously supported by the 

Tall Foundation, F!NK + Co., and Craft ACT: 

Craft + Design Centre. 

Image: Robert Foster, Yes Sir Teapot, 2007. Photo Courtesy of F!NK + Co.

Image: Robert Foster, Squashed Vessels. Photo Courtesy of F!NK + Co.

Gretel Harrison | Director F!NK Designs 

Robert Foster (1962-2016) had a deep love for 

metal and exploring its endless possibilities 

and was prolific in his career spanning over 30 

years working from artistic tea pots, functional 

hollowware, furniture, lighting, jewellery and 

sculptural installations. Robert had a deep appreciation 

and understanding of metal and was 

able to manipulate it in numerous ways, creating 

amazing, organic shapes many would not 

normally associate with the material. 

Robert invited many emerging makers to work 

with him and collaborated with numerous 

artists and designers with metal as their focus. 

He was generous in taking on mentorships and 

internships and helped shape the development 

of the careers of many Australian artists and designers. 

He would give lunch time classes at the 

primary school where his daughters Ineska and 

Mischa attended and the students would line 

up every year to get into his classes. They were 

attracted to him like he was a rock star! He was 

committed to teaching and embracing the possibilities 

of metal as it was his religion and his 

magnetic personality (that’s a metal joke!) made 

it impossible not to be excited about metal. 

From the mid-1980s Robert became internationally 

recognised for his expressive yet functional 

hand-made forms. He founded F!NK + 

Co in 1993 with the aim of creating a design 

and manufacturing business that would support 

and generate opportunities for Australian 

designer-makers. Joined by Gretel Harrison in 

1995, together they built F!NK + Co. into the 

business it is today – a much loved and respected 

Australian design company with an international 

reputation for producing world-class 

tableware, hollowware, jewellery and lighting. 

Be it the iconic F!NK Water Jug, the squashed 

Storage Vessels, the graceful Coolamon Platters, 

the Ned Kelly-esque Wine Chiller or the subtle 

curves of the Beaker, every F!NK product melds 

refined craftsmanship with shapes and colours 

largely inspired by the Australian landscape – 

tropical corals and fish, endless blue skies and 

vast deserts. Today, F!NK + Co. is spearheaded 

by Gretel Harrison, who is not only the face of 

the company but who also leads a dynamic 

team of practitioners. The company has continued 

to go from strength to strength as Gretel 

and the F!NK staff builds on the legacy of Robert 

Foster. 

Robert believed strongly in the value of working 

between art, design and manufacture, 

respecting both form and function, pushing 

material boundaries and creating innovative 

forming processes, always with an expression 

of optimism and recognising the importance 

sustainability and longevity. He will be remembered 

as an imaginative and resourceful designer, 

who also had the mind of an engineer 

who never let the words ‘not possible’ into his 

mindset.

Tragically, Robert’s life was taken from us in a 

car accident on 13 July 2016. Since this time, it 

has been Gretel’s focus to keep Robert’s legacy 

alive and to encourage others to invest in learning, 

experimenting and exploring the art of 

designing and making with metal. This is what 

he would have continued to do, if his life was 

not cut so short. At the time of his death he had 

numerous exciting plans and projects in front of 

him. Gretel wanted this prize and exhibition to 

not only celebrate the affection and admiration 

we all held for Robert, but to reflect his continuing 

influence and showcase the extraordinary 

talent and diversity of metal makers in Australia 

today, whilst also showing the breadth and 

depth of ways that metal can be formed. 

Robert was a long-term, respected and active 

member of Craft ACT. He became an Accredited 

Professional Member in 1993, so it seemed 

fitting to Gretel to collaborate with Craft ACT 

for this Metal Prize given their commitment 

to metal crafts and Robert’s great respect and 

admiration for the organization. The careers of 

all three of the Metal Prize’s judges have intertwined 

with Robert’s career and share his love 

for metal. 

As a journalist back in 1999, Ewan McEoin witnessed 

Robert explosive forming his vases out 

in a back paddock in Queanbeyan, instilling in 

him a love and respect for metal. He is now the 

Senior Curator of Contemporary Design and 

Architecture at National Gallery of Victoria. 

Brian Parkes and Robert crossed many paths 

starting when Brian was at the National Gallery 

of Australia in 1998, later at Object Gallery in 

Sydney and again as the Chief Executive Officer 

at The Jam Factory in Adelaide. 

Finally, this prize and exhibition would not be 

possible if it weren’t for the incredible generosity 

and support from Roger and Maxine Tall from 

the Tall Foundation. They have been incredibly 

supportive of the Canberra arts and craft community 

at large and have pledged their continuing 

support in the future so that this significant 

prize and exhibition can continue in the years 

ahead. 

Rohan Nicol collaborated with Robert back 

in 1998 on the FINK Bracelet when he was an 

emerging metalsmith. They continued to be 

close associates during Rohan’s Time as the 

Head of the Metal Working Department at the 

Australian National University. Rohan is now the 

Associate Head of School, Creative Arts and Media, 

Associate Professor of Fine Art, University of 

Tasmania.

Alison Jackson | Two Vessels Converse | 2022 

The vessel as a concept can be viewed with 

many perspectives both in a literal practical 

sense and as an imagined form of containment. 

I like to use the idea of the vessel to 

explore form, function, anthropism but primarily 

the craft of silversmithing. 

Raising is the process of forming vessels 

from a single sheet of copper, an age old 

traditional silversmithing technique where the 

sheet metal is skilfully hammered in rounds on 

specialised steel forms. What can seem like 

a simple process with rudimentary tools is in 

fact a nuanced and skilled technique that is 

a dying craft. Each vessel has had thousands 

of hammer strikes applied to manipulate what 

was once a uniform flat sheet into a three-dimensional 

vessel form. 

My process is a conversation between materials, 

ideas and forms. It is often one of repetition, 

heat, hammer, heat, hammer. Heated 

to soften and hammered to form. It is both 

rhythmic and mediative, my technique is 

about allowing the vessel to emerge rather 

than having a rigid idea of the final form. I 

think of it as the vessel emerging out of the 

material and out my thoughts, emotions and 

instinct. Each hammer blow moves it closer 

to a resolved form but also an individuality, it 

asserts itself and I start to think of them as 

characters. I often make pieces in pairs; this 

is because once the vessel leaves my hands 

the conversation between maker and vessel 

stops and a new dialog between the two 

vessels can begin. 

Photo: Tim Bean Photography

Bic Tieu | Flowers Between | 2022 

Using the format of a vase as a tangible 

metaphor to articulate in-betweenness. The 

vase as an ornamental container to display 

flowers changes by what is placed in the 

vessel. Similarly, this notion can be related to 

the framing of one’s identity living in-between 

and of cultures. This work is an exploration 

of myself as a Southeast Asian – Australian 

woman living between two cultures. 

The vessel design is a reflection of my 

experiences, my identity and the intercultural 

connections of life living between the eastern 

and western cultural spheres. I acknowledge 

the reality that exists ‘in-between’ and 

this work expresses a visual and material 

framework for my ongoing interest and 

belief in the value of the shared experience. 

Through living between these I revel 

The re-positioning and layered arrangement 

of the emblematic motif of deconstructed 

peonies are contextualized with Australian 

floral natives including fan flower, flannel 

flower, kangaroo paw, sturt desert pea, 

waratah and wattle. These motifs have a 

deep historical association with Asia and 

Australia connecting place, cultures and 

movement and metaphorically contribute to 

the layered meanings with identity. 

The design of the surface tension creates a 

dialogue for the Australian Southeast Asian 

diaspora, but more importantly, becomes 

instruments for articulating cultures that exist 

‘in-between’ cultural spaces. 

in the creative and metallurgical processes 

that inform my art and design practice. 

The surface design language is developed 

through a series of processes where I begin 

with collecting and rendering of flowers 

using digital graphic application. Through 

the illustration, I then take this into the laser 

cutting of components in which I use lost wax 

casting for metal alloys of silver and mixing 

of gold and copper into the composition. 

Numerous cast components are then further 

manipulated, cut and soldered to form the 

final sheet pattern. I then take this sheet to 

construct the final geometric form through a 

process of silver soldering to formulate the 

final form. 

The imagery on the vase draws on both 

eastern and western floral motifs endemic to 

my cultures to construct a visual language.


Gretel Ferguson | Out of Frame 1 | 2022 

After completing an Advanced Diploma of 

Jewellery and Object Design at Design Centre 

Enmore in Sydney, Gretal Ferguson moved to 

the UK to complete her Masters in Jewellery, 

Silversmithing, and Related Products at Birmingham 

City University’s School of Jewellery. 

On her return to Australia Ferguson moved to 

Adelaide and completed the 2 year Associate 

Programme at JamFactory where she now 

shares a private studio. 

Raised and formed to resemble the metal in 

its molten pre-worked state, the piece spills 

from an ornate gold frame, a placeholder for 

the artwork that once was. The laboriously 

hammered form is left blank and without 

function, suggesting the growing absence of 

skills required to rework it. 

Ferguson creates conceptual exhibition work 

using traditional craft skills in a sculptural setting, 

challenging the utilitarian traditions of her 

craft while honouring what came before. With 

the material process an integral part of her 

conceptual motivation, Ferguson embraces 

the arduous nature of silversmithing, using the 

hours of hammering to explore the work both 

aesthetically and conceptually, allowing it to 

unfold in a way it wouldn’t if the process was 

quick and less laborious. 

Out of Frame explores what happens when 

the intrinsic value of an objects’ material is 

seen to be more precious than the centuries 

of tradition involved in its creation. Throughout 

history metalwork has been melted down to 

create new objects or be hoarded in bank 

vaults, disregarding the original craftsperson’s 

hand, most only seeing value in the material 

itself. Yet as fewer artisans carry on these 

skills and traditions, we are in danger of losing 

the craft completely. 

This new work questions the future of silversmithing 

traditions. Though appearing to 

be silver the metal is actually plated copper, 

a result of artisans being priced out of their 

craft as their medium is a traded commodity. 


Johannes Kuhnen | Vessel 2022 | 2022 

Johannes Kuhnen is one of Australia’s most 

well-recognised gold and silversmiths. 

Coming from a well-developed European 

tradition, his contribution to Australian silver 

and jewellery, and hence Australian design, 

has been profound and has firmly established 

Kuhnen’s wok on an international platform. 

Johannes Kuhnen was the former head of 

the gold and silversmithing workshop at the 

Australian National University. Johannes has 

exhibited widely throughout Australia and 

overseas in both group and solo exhibitions. 

His work is held in the collections of the 

National Gallery of Australia, Canberra, the 

National Gallery of Victoria, Melbourne, the 

Powerhouse Museum, Sydney, the Art Gallery 

of Western Australia, Perth, Museum für 

Kunst und Gewerbe, Hamburg, Museum 

Boymans-van-Beunigen, Rotterdam, 

Staatliche Museen Preussischer Kulturbesitz, 

Kunstgewerbemuseum, Berlin, the Victoria 

and Albert Museum, London, the National 

Museum of Scotland, Edinburgh, Die Neue 

Sammlung, the design museum at Pinakothek 

der Moderne, Munich. 

Johannes’ practice has remained at the 

forefront of innovation, in particular his 

pioneering use of anodised aluminium. A 

fascination with the colour options of the 

aluminium as well as titanium continue to 

provide inspiration for his work and has 

also inspired many others to explore such 

potential. Johannes’s current practice 

continues to capture his mastery and sense 

of understanding of what you can do with 

hard materials such as titanium, which 

currently takes a leading role in his objects 

and wearable art.


Jonathon Zalakos | Hydroformed Sake Set | 2022 

Jonathon Zalakos is an emerging artist and 

contemporary jeweller based in Canberra, 

Australia, on Ngunnawal and Ngambri land. 

He seeks to integrate traditional goldsmithing 

materials and techniques with contemporary 

practices and philosophical thought. His work 

takes the form of jewellery, interactive objects, 

digital media and installation. Jonathon is particularly 

interested in how meaning is co-produced 

through the processes of expression 

and perception. This drives exploration into 

the visual language of cultural phenomena 

including contemporary pop jewellery culture, 

online viral media and the two-way relationship 

between the human and manufactured 

worlds. These concepts are deconstructed 

and reassembled so as to consider the different 

worlds we occupy with our bodies and 

minds. 

My application for this prize is inspired by 

Robert Foster’s own pursuit of craft innovation 

and aesthetically streamlined design. For 

me, this means embracing curiosity, experimentation 

and a keen eye for finishing details. 

I explore hydroforming as a manufacturing 

technique - a method of ‘inflating’ closed 

metal vessels with pressurised water so as to 

create complex hollow forms. Typically this is 

done with tube in heavy dies to create repeatable 

and precise components: car exhaust 

pipes for example. I integrate classic silversmithing 

processes to create hollow forms 

that are then inflated like balloons, where the 

final shape is unpredictable and emergent. 

A tension between divergent properties of 

liquid are captured in the process as the jug 

and cups seem to be nearly bursting at the 

seams, yet remain completely functional for 

containing and gently pouring out sake. 


Kirsten Haydon | Ice Draw | 2022 

Kirsten Haydon investigates the potential 

of gold and silversmithing to communicate 

human experience and connections with 

the environment. Kirsten Haydon completed 

a PhD in 2009 and has been teaching at 

the School of Fine Art, RMIT University in 

Melbourne since 2002. Kirsten travelled to 

Antarctica as a New Zealand Antarctic Arts 

Fellow in 2005. Her art practice, crafts and 

explores connections and observations of 

the environment through concepts of historic 

photography and micromosaics. Site and 

archival studies inform works which aim to 

engage the act of remembering and the 

fragile futures of ice by assembling and 

drawing on metal and enamel surfaces. 

Ice has a salient condition in the preserving 

and storing of atmospheric knowledge 

and histories within its structure. Through 

precipitation, ice, and its inclusions both 

the micro and macro are created from the 

surrounding environment and atmosphere, 

this provides details about the moment the 

ice was formed. 

Glacial ice is considered mono-mineralic rock 

and is the metamorphism of thousands of 

individual snowflakes into crystals of glacier 

ice. Over ninety percent of the earth’s glaciers 

are in Antarctica, a mass of ice forms, all 

these landscapes are locked, holding water 

droplets in freezing conditions. As global 

temperatures rise these landscapes begin to 

fall away, ice once stored is then released as 

individual water droplets dispersing into the 

ocean and evaporating into the clouds high 

above. 

Ice Draw is a response to two experiences 

of fieldwork. First was the immense and 

macro experience of standing beneath the 

gigantic ice wall known as the Barne Glacier 

on the Ross Ice Shelf in Antarctica. The 

second, reflecting on the micro investigations 

undertaken by international climate scientists 

in 2012 at the GNS Ice Core Research 

Laboratory in Wellington. Standing and 

seeing for myself the handling of precious 

individual ice cores being manually cut and 

sectioned before being melted sequentially 

in a controlled environment. This process led 

to the collection of atmospheric data and 

individual water droplets to investigate the 

stability of the Ross Ice Shelf. 

Ice draw is created to depict ice landscapes 

and connect with concept of archiving, 

preservation and holding. Draw has many 

meanings, and in this work, draw connects 

with the notion that ‘to draw’ or ‘draw up’ 

takes or obtains liquid from a container. 

The work Ice draw references the drawer 

as a container not a static archival drawer 

but a porous work comprised of parts and 

elements. 

Perforated, hand drawn and etched, the 

heat blackened Layered steel containers are 

transitional and changing. The containers are 

scaffolded fragments that depict sections 

of the Barne Glacier as it was in 2004. 

The enamelled image is reflective when 

experienced, as the micro glass reflector 

beads produce retro-reflection, a type of 

reflection that redirects incident light from the 

surface back to the source. The enamelled 

microspheres represent the countless 

individual snowflakes or drops of water that 

combine to form the Barne Glacier. The 

boundaries of the transparent spheres 

reference the unique precious souvenir 

micromosaics depictions of significant 

landscapes.


Larah Nott | Pleat One | 2022 

Pleat: a double or multiple fold in a garment or 

other item made of cloth 

My practice is always evolving. Working with 

geometric and architecture inspired shapes 

I produce large wearable pieces in titanium 

and mild steel. Another part of my practice 

is vessels. I enjoy working at a larger scale, 

pushing materials and working with shadow 

and depth. Previous works have explored 

light and dark, where light falls and shadow 

prevails. The flow of line is important to the 

scale and materials of the work. 

This new work, Pleat, is a further exploration 

in to materials and form. During research 

for this piece, I wanted to expand upon the 

fold concept and found pleating the material 

added a vibrancy and movement to the work. 

The eye wants to travel around and explore 

the work. I am asking a lot of the materials, 

designing with industry and using a combination 

of modern and traditional techniques. My 

practice is always a balance of machine and 

handmade, a joining of traditional and new 

ways of working with materials. 


Lindy McSwan | To Cart Carry Convey | 2022 

The mild steel vessel, often in combination 

with other materials, has been the foundation 

of my practice since my undergraduate 

studies in gold and silversmithing. More 

recently I have developed a deeper material 

focus looking to material properties, qualities, 

and transformation in the life cycle of 

steel. This begins with iron ore, the primary 

material essential to iron and steelmaking. 

Experimenting with different methods of using 

iron ore, the most effective to date has been 

grinding the material by hand and blending 

it with vitreous enamel, then applying to the 

surface of these vessels before firing in a kiln. 

In this body of work the vessel forms 

respond to my fieldtrips to the Whyalla and 

Port Kembla steelworks. The steelworks are 

effectively an extensive system of vessels 

and structures, mostly made of steel, that 

transport, store, and process material in the 

production of iron and steel. Kilometres of rail 

networks, carriages, monumental industrial 

vessels, conveyors, furnaces, cavernous, 

corrugated steel sheds and forming systems, 

empty, fill, move, transform, and contain vast 

quantities of material in a continuous process 

of steelmaking. The title given to this work 

reflects on this experience as well as notions 

of containment embodied in the vessel more 

broadly.


Oliver Smith | Naturally Wild | 2022 

I propose to create a metallic sculpture referencing 

antlers from which hang a series of 

metal utensils. This work will be an exploration 

of the hot-forging process. This hammer 

forming technique will be used to produce 

sculptural and functional objects that support 

the activities of cooking, serving and eating. 

The title and source of inspiration is Cernunnos 

- The Lord of Wild Things. 

The major elements in this work will consist of 

two sculptural forms, hot-forged in metal, that 

reference the horns of Cernunnos, the archaic 

divinity that watches over the wilderness. The 

antlers will branch upwards and outwards, 

visually suggestive of growth and movement. 

They will be three-dimensional flow charts, 

manifestations of energy transfer in the 

broader river of life or the movement of blood 

in an individual circulatory system. 

hot-forging process will imbue the objects 

with a gestural quality that will heighten the 

dynamism of the collection of forms. These 

purposeful utensils are in turn further enlivened 

through use, the daily rituals of food 

preparation and social eating becoming a 

homage to the source of the foodstuff itself. 

This proposal builds upon my established 

body of work exploring the realm of cutlery 

and the technique of hot-forging. This foundation 

will be extended through the larger 

scale antler inspired elements, resulting in 

purely sculptural outcomes. The work is intended 

to be a living altar to that which we 

owe benefaction, the turning of the seasons 

and nature’s many gifts. The antlers and utensils 

will be a salute to the craft of silversmithing 

and a celebration of the rich bounty of all 

that nourishes us. 

The metallic interpretation of the antlers will 

support a series of minor elements consisting 

of a series of knives, forks, spoons, serving 

spoons, ladles, scoops and tongs. The collection 

of hot-forged utensils will be designed 

for the preparation, cooking, serving and 

consumption of food. Each item will hook and 

hang from the pronged ends of the major 

forms, akin to a taxonomy of flora or fauna 

whose interconnectedness is made evident 

when viewed as a group. When at rest each 

utensil is an oblation, an offering made to a 

deity dedicated to the natural world. 

Advancing the aesthetic sensibility activated 

in the antlers, the design and material language 

of each utensil will reflect the requirements 

of function brought to life through the 

malleable and ductile properties of metal. The 


Sean Booth | Tranquillity| 

My intention is to bring together traditional 

and modern methods of working with metal, 

to produce a holloware object that combines 

my experience and training in hand forming 

techniques with digital technology and 

modern machining processes. 

Drawing inspiration from Robert‘s deep and 

unique understanding of metal forming and 

manipulation, my work employs traditional 

silversmithing techniques to generate 

a dynamic asymmetrical hand formed 

aluminium vessel. The hand formed vessel is 

the first phase of the process. I then digitise 

the form to allow me to engage with the work 

in the digital workspace. Utilising computer 

aided design software, I then design and 

program the processes that will transform 

the handmade surface. I use these powerful 

modern tools to program the intricate tool 

paths, manifesting this digital language onto 

the work’s surface and form. 

As a maker I feel that I have a foot in two 

camps, one the traditional handmade 

organic physical world and the other modern 

computer derived and control production that 

is accurate and defined. With this approach 

I blend traditional hand forming techniques 

and modern machining together to generate 

a unique and innovative work that progresses 

contemporary craft while acknowledging its 

heritage. This work embodies my 20 years of 

learning and commitment to development of 

skills across a variety of disciplines. Bringing 

together my hand forming, digital design and 

machining knowledge in one work.


Alison Jackson, Two Vessels Converse, 

2022 

hand raised copper, patination 

110 x 110 mm (larger), 75 x 70 mm (smaller) 

$5,000 

Bic Tieu, Flowers Between, 2022 

Sterling silver and shakudo 

215 x 155 x 51 mm 

$5,000 

Gretel Ferguson, Out of Frame 1, 2022 

silver plated copper, frame 

260 x 330 x 80 mm 

$4,990 

Johannes Kuhnen, Vessel 2022, 2022 

titanium, anodised aluminium, monel, stainless 

steel 

477 x 402 x 217 mm 

$40,000 

Oliver Smith, Naturally Wild, 2022 

316 stainless steel, monel, .900 silver, brass 

wall mount 

Knives $360 each, Forks $360 each, Spoons 

$400 each, Serving Blades $420 each, Slotted 

Serving Utensils $420 each, Serving 

Spoon & Ladle $900, Stand & Wall Mount 

$800

Jonathon Zalakos, Hydroformed Sake Set, 

2022 

Powder coated copper 

200 x 80 x 80 mm (bottle), 70 x 70 x 70 mm 

(cups) 

$700 

Kirsten Haydon, Ice Draw, 2022 

Vitreous enamel, photo transfer, reflector 

beads, etched and heat blackened steel, inkstained 

Tasmanian oak, sterling silver 

430 x 630 x 250 mm 

$7,000 

Larah Nott, Pleat One, 2022 

mild steel, titanium, sterling silver, wax 

145 x 300 x 250 mm 

NFS 

Lindy McSwan, To Cart Carry Convey #1-5, 

2019 

mild steel, vitreous enamel, iron ore 

140 x 120 x 40 mm (#1), 210 x 70 x 60 mm 

(#2), 230 x 160 x 65 mm (#3), 130 x 68 x 60 

mm (#4), 85 x 80 x80 mm (#5) 

$1430 (#1), $1580 (#2), $1800 (#3), $1430 

(#4), $1210 (#5) 

Sean Booth, Alisterus, 2022 

Anodised aluminium, hand formed and CNC 

machined vessel 

90 x 80 x 195 mm 

$5940

2022 Robert Foster F!NK National Metal Prize

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