I started with a deconstructed etching.  Cut it into pieces and collaged it into different arrangements. These arrangements became like stratas of sediments, leaves, and rocks.  I wanted a depth of colour and used a combination of steel plate etching with solar and screenprinting to create a layered effect.

My work over the past several years has looked closely at cross-cultural references.  I have traveled extensively to many countries working with other artists. This has given me the ability to work across different cultural identities. My works look closely at space (not what space is but what it represents – a metaphor to space).

Many of my works relate to the vessel form. This in turn, reflects the image of the human form being the vessel along with some structural sculptural forms looking at architectural constructions being the tomb (a place of birth, a place of living, a place of death). Many of my pieces are constructed from steel, clay, bronze and sometimes stone. These in turn become a diagram of space.

In some cases, I work with installation performance pieces, producing large scale forms in the landscape made out of clay and firing them on site.

Many of the works vary in scale from a small bowl which can be held in the palm of your hand to a human scale which one can enter into like a dwelling.

My three prints are from a collection commissioned by Hayley Baillie in 2023 to be used in the new Southern Ocean Lodge on Kangaroo Island.

These were a part of a larger commission which included paintings made by my husband Glen Ash and glass installations by our sons Llewelyn and Gabriel Ash. (Our Aidan supplied archaeological advice from afar).

I made drawings and paintings at Hanson Bay and further north along West Bay. These were used to make these compositions, first as watercolour paintings.

We printed the completed paintings as archival prints, and then I drew the etching plates to go upon them.

The etchings to describe the somethings which I was thinking about and what I had seen. And even maybe had never seen.. just what I knew to be there.

The running plovers, tiny bats and long-nosed dunnarts, and the star constellations …

The ongoing extra-ordinary and wonderful life of our Island.

Georgia’s limited edition linoprints are informed by responses to both the natural and material worlds around her that focus on drawing and carving highly detailed compositions with an emphasis on texture and tone. Most recently, her work carries themes of nostalgia, longing and a sense of place, influenced in part by her relocation to the Barossa/Peramangk country.

Somewhere in our unconsciousness we remember that we came from the sea, we are connected to this saltine memory
- R Carson

When I submerge there is a blurring of edges, the land slips away and I am in an oceanic continuum, immersed, floating, I think like a weed.

Imaging the environment and conditions that may have influenced its morphology.

The work is tribute to the ocean and its delicate ecology, while also considering the entanglements between human and non-human.

Elizabeth Woolcock was the first and only woman to be hanged in SA in 1873 at the age of 25 for supposedly poisoning her abusive alcoholic husband Thomas. Town rumour has it that Liz may have poisoned her husband by regularly sending him off to work down the copper mine with a common miner’s lunch - a Cornish pasty (that may have been laced with mercury).

Birds abound in our backyard. They are unintentionally good companions, providing comfort with their presence and song, and flying into my studio looking for bugs while I am working.

I aspire to create images that are visual analogues and metaphors, and re-present the familiar, perhaps ordinary, as something deserving renewed consideration.

The hand built ceramic vessels are made in my backyard studio. The works are a response to the local urban landscape of Adelaide South Australia traversed on my daily dog walks. I am attracted to found objects overlooked or discarded and incidental objects — fragments shaped by use rather than intention. These found forms often irregular and incomplete activate unconscious response and become my visual triggers. I collect seed pods/Australian flora/eucalyptus bark for reference of shape/colour/form. I sometimes use them as ‘stamps’ to ‘decorate’ the surface of the pot by pressing patterns into the drying clay as the vessel evolves.

My vessels are formed using hand coiled Bennetts Terracotta filtered clay, underglaze and oxides.

Peter Johnson’s ceramic works reflect memory and experience of the Australian landscape, visible in the remnants of our industrial, suburban and maritime places, memories of daily living on the land and the expansiveness of the rural environment.

Using terracotta and stoneware clay he makes ceramic works that include cups, bowls, sculptural vessels and figurative forms. Surface decoration includes drawing, painting and creating texture through carving and layering clay slips, enbobes and glazes. 

His work displays an aesthetic and intuitive interaction with the clay that captures moments in time and place, creating both a whimsical and poignant aspect.

Personal history is not a fixed, hard-and-fast reading of the past. Often my work tries to make sense of something that can barely be grasped. In the act of making, I am engaging in what is present, and also what is absent; those things that can only be retrieved by the subtle work of the quiet studio. In that sense, the studio becomes its own entity.

The Mediation Series explores how materiality mediates the formation of relationships and spatial experience. Developed from my earlier spatial experiments and installation-based practice, the series extends these investigations onto paper, where crayon, ink, colour, and drawn forms become active elements in the emergence of a relational field. The forms do not function simply as isolated images; their relationships with surrounding marks, colours, and intervals contribute to the shifting organisation of the composition.

Rather than translating three-dimensional installations into two-dimensional representations, I approach drawing as an independent site of experimentation. The physical properties of the materials, the pressure and direction of each mark, and the distribution of colour establish relationships that remain open to change. Crayon offers both resistance and responsiveness: its marks can accumulate, interrupt one another, or create areas of visual weight. Ink participates in the formation of relationships between colour, form, and the paper surface. The interplay of contrasting colours generates a shifting balance of visual weight and tension across the surface. These interactions reflect my broader interest in how structures emerge through negotiation rather than predetermined composition.

Within this process, space is not treated as an empty background surrounding forms. It emerges through the relationships between drawn forms, marks, colours, intervals, and areas of concentration. The placement of each element affects the surrounding field, while the viewer’s movement of the eye across the surface continually reorganises these relationships. Balance is therefore not a fixed state but a provisional condition produced through the interaction of competing forces.

The term Mediation refers to the capacity of materials and visual elements to participate in the formation of relationships, rather than simply serving as vehicles for an existing idea. Through the interplay of crayon, colour, and mark-making, the series examines how material conditions generate spatial relationships and how these relationships can be reorganised through subtle shifts in density, direction, and placement.

The works invite attention to how relationships take form, persist, and change. They are not images of a completed spatial arrangement, but experiments in how a relational field can emerge on paper.

Landscape drawing has been a central part of my practice since the mid 1990s. The drawings Mungo Suite VIII, 2005 and Italowie Gap, Northern Flinders Ranges, 2014 are the products of two Artist in Residencies, at Lake Mungo (2005) and at Grindell’s Hut, Northern Flinders Ranges (2013/14). They are direct responses to these remote and arid landscapes. Italowie Gap formed part of an exhibition Stones & Bones held at Yarta Purlti Gallery, Port Augusta Cultural Centre in 2015, while the Mungo work was exhibited at Noosa Regional Gallery and Gallery 25 Mildura in 2005.

The most recent work Farm Gate (Mid North), 2026 was modeled on a 2006 painting by the late Geoff Wilson, and was exhibited earlier this year in the tribute exhibition RIFF: Geoff Wilson Reframed, curated by John Neylon.

Josephine hopes to portray a feeling of the remote shores she explored while growing up and continues to visit as an adult. The shape and surface of the hand-built forms echo familiar granite boulders, round and organic, while the glaze on the lip and interior suggests the waterline. Using the coiling technique and a reductive process, she pushes and scrapes the clay to reveal the desired form. Juxtaposed with these stone-like vessels, are more delicate wheel-thrown pieces. She uses gestural brushstrokes and colour to develop the surface of this work. She is interested in the transparent nature of coloured slip; how colour can be layered and how brushstroke can give a sense of movement. When side by side the two approaches complement each other, creating an interesting conversation.

Brioni Pridham has worked from her home studio in the Adelaide Hills since 2021. Originally trained and working in early childhood education she has a deep love of open-ended playfulness, and a fascination for what the human hand can create and express.

Hand building with slab and coils she creates sculptural pieces that may include a functional aspect.

The joy of creating with the earthy and watery elements of clay to build a form evoking calmness, harmony and balance, is layered with primal mark making, glazes and oxides to express the natural world, and invite you to imagine and connect.

Lunar Tides
The moonlight shimmers and glistens across the ocean.

The sea and the moon are drawn to each other in a never-ending play of creation that we are all influenced by.

Coiling this orbital form required a playful relationship between the clay body and the maker, mindful of the strength and harmony called forth.

Fault Lines
In coiling this pot a shift in clay colour created a naturally occurring line of tension, a fault line, hinting at the ever-shifting relationship between land and sea, expressed further by my carving of these lines. The glazes and oxides give the depth of colour from within the ocean and mountain tops, while light filters through to the shoreline.

As a jardiniere this pot allows a continuing relationship with the natural world by bringing something of the plant world into our home, while remaining curious about our place within the transformative forces of nature.

Tulipiere Carousel
Tulipiere Carousel invites you to join in the celebration of the sculptural beauty of the pot. It is ready to carousel at the carnival or to stand steady serving the uniqueness of each flower and honouring them with their own space. Harking back to the time when the individual bloom was as precious as gold. The pot was hand built with slab and coils in two pieces, the vase and separate flower frog that sits on top.

Retired Architect and Industrial Designer Saxon Ruddock has been making furniture since 2017.

Encouraged by family (his Dad was an architect/planner), he has been making and drawing since the ‘50s. He grew up in Canberra and was much influenced by the new development in Canberra, the influx of post-war migrants (the New Australians) and the new thinking about design they brought with them. Living near an airbase in Canberra, he was heavily influenced by the wide variety of aircraft based there and visiting.

The work in this exhibition is all in Tasmanian Oak veneered composite panel, a beautiful, stable and sustainable material. A number of the pedestals (stands) and small wall shelves are supporting other objects in the show and available as separate items to display objects, plants etc. 

My jigsaw woodblock prints are combinations of colours and shapes. Each work begins with an initial idea that develops instinctively and unexpectedly during its materialisation. Once cut, the plywood shapes are fixed and ready to be inked up. The colour is finally resolved during the printing process. At the core of my paintings and prints is the interplay of elemental geometric shapes. I am rewarded when these elements ‘align’ and surprise and it is this adventure that inspires me to keep innovating and experimenting. Each person will see these works in their own way, but my hope is that they connect with the audience in an expansive way and be tireless in their interest.

I continue my search for gaps in which to create a dialogue between the intangible connections and commonalities of people and the natural world: to explore the animate and inanimate as integral rather than separate entities and the embodied meaning of objects and their connections to life, place and otherness.

SOS is an ongoing response to that intersection and our insistence on privileging ourselves before the rest of existence.

The STONES that sit with them continues my fascination with the spirit of the object; the  idea of the gradual instant of becoming rock , their geological veracity and the Geiger counter that amplifies their faint breathing even after 50,000 years.

Human memory is encoded in the air currents, the river sediment and the towering mountain range…. We long for place but place itself longs.

The Dilemma of Water
This is a series of small lithographs with a watery theme regarding the calamity that surrounds us - rising seas, drying rivers and polluted ponds and lakes. The figurative or hybrid shape in the landscape is an onlooker who contemplates the changing world and the future.  

My ceramic practice explores the relationship between form, material, and the coastal landscape, drawing direct inspiration from the Fleurieu Peninsula coastline. Through hand-built ceramic forms, I investigate the rich variety of different clays and glazes to recreate the organic textures and natural contours of detritus washed ashore. By manipulating raw materials, my work translates the fleeting, tactile qualities of beach-combed objects into permanent, sculptural vessels that honor the rugged beauty of the South Australian coast.

Good Francine/Bad Francine
In a rich and meaningful life, we must remember that light and shade coexist as constant companions.

From this and that my new collection of work has slowly come together.

A bucket of reclaimed clay rolled into slabs, an oddment of found shapes for making moulds, leftover slip colours already mixed and waiting to be used.

And a chance to play about with patterns - my favourite place to be.

My practice is grounded in a sense of place, shaped through walking and embodied encounters with landscape. I combine monotype and print processes to translate sensory experiences of place into layered, tactile works on paper.

Woodland Inner Worlds I, II & III is a series of gestural responses to Piradli (Belair National Park) and the Adelaide Park Lands, connected through recurring motifs and traces carried across the monotype plates. I think of each paper element as an exercise in attunement, holding traces of repeated visits and steps. Through this process, I form and hold a relationship with place.

I use Japanese and Hereford papers for their strength, smooth surfaces and responsiveness to the monotype process. Mounting the prints on canvas gives them a material presence that echoes the landscapes from which they emerge.