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2026","bgColor","bgImgUrl","https://api.homofaber.com/uploads/9_16_1080x1920_50_175a29db28.png","bgRepeat","bgFit","contain","centerImgUrl","centerText","1 – 30 September 2026, San Giorgio Maggiore Island, Venice","centerImgFit","ctaLabel","Book your ticket","ctaBgColor","#FFFFFF","ctaUrl","textColor","white","2025-05-22T09:42:23.885Z","2026-04-27T09:13:30.731Z","2026-04-27T09:13:30.723Z","textLeftXs","bgImgUrlXs","ctaLabelXs","Book now","ActiveStartDate","2026-04-27T07:00:00.000Z","ActiveEndDate","2026-09-30T21:45:00.000Z","mainAdvert","guideTags",[575,577,579,582],{"_241":173,"_576":-5},"badge_color",{"_241":169,"_576":578},"#115C90",{"_241":580,"_576":581},"Homo Faber Capsule","#f0deca",{"_241":193,"_576":583},"#D9583B","isWebview","userAgent","Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)","emailHash","request",["SingleFetchClassInstance",590],{},"routes/$lang","routes/$lang.artisans._index",{"_594":595,"_2259":595,"_2260":2261,"_2739":2740},"profiles",[596,668,708,740,789,832,871,900,936,966,1006,1038,1064,1090,1125,1160,1195,1239,1271,1304,1335,1365,1397,1429,1471,1505,1538,1569,1600,1631,1664,1698,1730,1761,1800,1833,1873,1904,1934,1965,1999,2037,2066,2096,2128,2160,2194,2230],{"_597":598,"_31":599,"_600":601,"_241":605,"_327":606,"_607":608,"_609":610,"_612":613,"_616":617,"_623":624,"_630":631,"_633":634,"_643":38,"_644":645,"_647":648,"_650":651,"_652":653,"_654":655,"_656":657,"_658":659,"_660":661,"_662":663,"_666":667},"_meilisearch_id","profile-5399",5399,"picture",[602,603,604],"https://api.homofaber.com/uploads/3_PORTRAIT_7_Anne_Clifton_and_Peter_Bowles_C_Samantha_Kuruvita_3_51e7f8889d.jpg","https://api.homofaber.com/uploads/1_FACE_GESTURE_2_Anne_Clifton_and_Peter_Bowles_C_Glass_Manifesto_2_copy_fb2567c6dc.jpg","https://api.homofaber.com/uploads/5_OBJECT_1_Peter_Bowles_C_Glass_Manifesto_00941da478.jpg","Anne Clifton & Peter Bowles","anne_clifton__peter_bowles-glass_sculpting-invermay","description","Anne Clifton and Peter Bowles create glass works with traces of ceramics in an old, romantic workshop. The couple met in Perth, where Anne studied ceramics and Peter worked in glass. \"We joined our practices to form our studio, Glass Manifesto. Each of us pursues a distinct craft while supporting the other,\" they say. Peter's dense, zen-like forms reflect his quiet strength and stillness, while Anne's works draw on her training in ceramics and interiors, expressing the vigour palpable in her energy. Influenced by Tasmania and working directly with its pure sands, Anne and Peter's works pieces could not be made but on this island. In collaborating, making becomes a dance, a template for creating a successful art practice and life filled with love.","craft",[611],"Glass sculpting","destinations",[614,615],"Australia","Tasmania","tags",[618,619,620,621,622],"Ceramics","Glass","Mixed media","Partners in craft","Territory","objects",[625,626,627,628,629],"Ataraxia in Alabaster","Wildflower Vases","Vetrograph: Arthemis","Border Demarcations","Lines of Inquiry Bottles","materials",[619,632],"Murano glass","categories",[635,636,637,638,639,640,641,642],"Vessel","Vase","Glass sculpture","Bottle","Decorative objects","Drinkware","Decoration","Table and kitchen","has-experiences","type-of-artisan",[646],"Artisan","craft_person",[649],"Glass sculptor","craft_metier",[611],"latitude",-41.42884242406403,"longitude",147.1246102818787,"content_edit_date","2026-04-22T14:16:00.000+0000","city_and_country","Invermay, Australia","is_new_until","2026-04-02","_geo",{"_664":653,"_665":655},"lat","lng","order",2820,{"_597":669,"_31":670,"_600":671,"_241":675,"_327":676,"_607":677,"_609":678,"_612":680,"_616":681,"_623":686,"_630":691,"_633":696,"_643":38,"_644":698,"_647":699,"_650":701,"_652":702,"_654":703,"_656":657,"_658":704,"_660":705,"_662":706,"_666":707},"profile-5296",5296,[672,673,674],"https://api.homofaber.com/uploads/3_IMG_7823_f2b6d31e89.jpg","https://api.homofaber.com/uploads/4_IMG_8056_e795722eed.jpg","https://api.homofaber.com/uploads/5_IMG_7816_4b1baf5c37.jpg","Anton Hasell","anton_hasell-bellfounding-mia_mia","Anton Hasell's practice moves between bell acoustics, digital engineering and traditional casting and tuning. Trained as a sculptor, he spent years working in art foundries and lecturing at the Victorian College of the Arts before turning to bell making in the 1990s, drawn by the discipline's unforgiving precision. \"Bells are among the most technically demanding objects to cast,\" he says. \"Shape and scale dictate the sound. I am seeking the form that yields the clearest pitch.\" He founded Australian Bell in 1998 in Mia Mia, and collaborates with consultants and universities on large-scale and experimental commissions. For Anton, geography matters. \"Australia is the perfect place to invent new sounds, unbound by European and Asian traditions. The first song of a newly invented bell is infused with the resonance of its birthplace.\"",[679],"Bellfounding",[614],[682,683,684,685],"Collaborations","Innovation","Performing Arts","Traditions",[687,688,689,690],"Storm Clouds over Country","Ringing a small bell","Ringing an ancient Chinese bell","Storm at Sea clock",[692,693,694,695],"Bronze","Stainless steel","Metals","Steel",[697,639,641],"Clock",[646],[700],"Bellfounder",[679],-37.00627997232362,144.5657609357502,"Mia Mia, Australia","2026-03-26",{"_664":702,"_665":703},1263,{"_597":709,"_31":710,"_600":711,"_241":715,"_327":716,"_607":717,"_609":718,"_612":719,"_616":720,"_623":723,"_630":729,"_633":730,"_643":38,"_644":731,"_647":732,"_650":733,"_652":734,"_654":735,"_656":657,"_658":736,"_660":737,"_662":738,"_666":739},"profile-5330",5330,[712,713,714],"https://api.homofaber.com/uploads/3_Kirstie_Rea_3_c_Lean_Timms_02fe446d76.jpg","https://api.homofaber.com/uploads/1_EDITED_Kirstie_Rea_14_copy_9f19c1fd86.jpg","https://api.homofaber.com/uploads/5_EDITED_Kirstie_Rea_Shaped_By_The_Breeze_1_copy_4149080ed9.jpg","Kirstie Rea","kirstie_rea-glass_sculpting-queanbeyan","Kirstie Rea works with kiln-formed glass to make abstract objects inspired by the transcendental elements of nature and her surrounding locality. “The objects speak of the possibilities of both firm and fragile connections that we have to places,” she says. Kirstie learned her craft with German artisans Ludwig Schaffrath and Klaus Moje, and was initially inspired by Irish stained glass artists Harry Clarke and Evie Hone. She was also influenced by the 1981 New Glass: A Worldwide Survey exhibition at the V&A Museum in London. Currently, Kirstie’s objects take shape as folded sculptural forms achieved through multiple firings in a kiln, which continue to challenge and teach her.",[611],[614],[721,619,722],"Decorative","Nature",[724,725,726,727,728],"Of gesture and nature 1","Repose 1","Presence within","Of a season 2","Shaped by the breeze 2",[619],[637,639,641],[646],[649],[611],-35.35304820857819,149.2314947211387,"Queanbeyan, Australia","2026-03-19",{"_664":734,"_665":735},4878,{"_597":741,"_31":742,"_600":743,"_241":747,"_327":748,"_607":749,"_609":750,"_612":752,"_616":753,"_623":757,"_630":762,"_633":771,"_643":38,"_644":779,"_647":780,"_650":782,"_652":783,"_654":784,"_656":657,"_658":785,"_660":786,"_662":787,"_666":788},"profile-5331",5331,[744,745,746],"https://api.homofaber.com/uploads/3_JBY_Homo_Faber_Portraits_Noel_Mc_Laughlin_1_72c6e19184.jpg","https://api.homofaber.com/uploads/1_JBY_Homo_Faber_Process_4_copy_07566d09e9.jpg","https://api.homofaber.com/uploads/5_JBY_Homo_Faber_Products_3_eeb3d02b68.jpg","James B. Young","james_b_young-leatherworking-ciccone","James B. Young’s background began in design, but he had a yearning for hands-on work. After a long history of working with camels, making utility items and camel saddlery, followed by a career in land management, he relocated to Adelaide to undertake an 18-month course in custom footwear making. James worked with master shoemaker Eugenia Neave. \"The first time I lasted a pair of shoes, it felt as though I had done this before,\" he explains. He found out shortly after that his mother’s side of the family had all been shoemakers up until 1978. James specialises in crafting traditional hand welted footwear for a bespoke fit. “I generally only work on one pair at a time, so I am not stuck on one stage for longer than a day and I am able to give each pair my intense and dedicated focus,” he says.",[751],"Leatherworking",[614],[754,755,622,756],"Heritage","New career","Fashion",[758,759,760,761],"Outliers collection Frame handbag","Bespoke Derby shoes","Bespoke boots","Outliers collection Beam briefcase",[763,764,765,766,767,768,769,770],"Leather","Acacia","Linen","Calf leather","Cow leather","Animal materials","Wood","Fibres and textiles",[772,773,774,775,776,777,778],"Handbag","Derby","Boots","Briefcase","Bags and luggages","Shoes","Mode",[646],[781],"Leatherworker",[751],-23.69118691036357,133.8747204855788,"Ciccone, Australia","2026-03-12",{"_664":783,"_665":784},4783,{"_597":790,"_31":791,"_600":792,"_241":796,"_327":797,"_607":798,"_609":799,"_612":801,"_616":802,"_623":804,"_630":810,"_633":816,"_643":38,"_644":822,"_647":823,"_650":825,"_652":826,"_654":827,"_656":657,"_658":828,"_660":829,"_662":830,"_666":831},"profile-5264",5264,[793,794,795],"https://api.homofaber.com/uploads/3_PORTRAIT_1_Michaela_Pegum_C_Astrid_Mulder_50c8a904e2.jpg","https://api.homofaber.com/uploads/1_EYE_GESTURE_6_Michaela_Pegum_9345f56ecb.jpg","https://api.homofaber.com/uploads/5_OBJECT_3_Michaela_Pegum_C_Matthew_Stanton_db1de737a1.jpg","Michaela Pegum","michaela_pegum-mixed_media_sculpture-preston","Assembled through an intuitive, impromptu language, Michaela Pegum's jewellery and sculptures transmits an energy so strong, it prompts viewers to wonder if they emit sound, continue to grow, or exist as something organic, alive and uncontained. Working with materials such as electroformed velvet, she manipulates amperage, chemicals and metals to allow sediments to accrete over time. Michaela creates forms that may be rigid or porous, smooth and metallic, or bulbous and mineral-like, with organic finishes that range in hue from vibrant to subtle. \"I begin with an idea or instruction and respond instinctively,\" she says, drawing on the same sensibility from her experimental dance background. “It is a conversation based on feelings, with a sense of something being uncovered.\"",[800],"Mixed media sculpture",[614],[803,755],"Jewellery",[805,806,807,808,809],"All is Intimate I","Subtle Body V","Unseen I","Calls VI","Fallinglight II",[811,812,813,814,815,770,694],"Organza","Copper","Silk","Satin","Velvet",[817,818,819,820,821,778],"Sculpture","Brooch","Monuments","Jewellery and watches","Architecture",[646],[824],"Mixed media sculptor",[800],-37.73623755042001,145.0334524435748,"Preston, Australia","2026-03-05",{"_664":826,"_665":827},3246,{"_597":833,"_31":834,"_600":835,"_241":839,"_327":840,"_607":841,"_609":842,"_612":843,"_616":844,"_623":847,"_630":853,"_633":857,"_643":38,"_644":861,"_647":862,"_650":864,"_652":865,"_654":866,"_656":657,"_658":867,"_660":868,"_662":869,"_666":870},"profile-5215",5215,[836,837,838],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyE1_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyE1_Left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyE1_Right2.jpg","Stephanie Phillips","stephanie_phillips-ceramics-enmore","Stephanie Phillips’ creative journey began long before she worked with clay. “I was raised in Sydney, and a lot of who I am is shaped by my grandmothers. One took me on bush walks and taught me the flora and fauna of the Central Coast, and the other crafted delicate flowers, painted oil works and encouraged me to create new things,” she says. Stephanie studied glass, worked as a set designer on films such as The Matrix Reloaded and Moulin Rouge, and was a visual merchandiser for furniture and interiors boutiques. “This fuelled my desire to work with my hands and sharpened my eye for texture, colour and scale,” Stephanie explains. After completing ceramics courses, this instinct emerged in her sculptural, surrealist clay forms. Eventually, Stephanie’s pieces caught the attention of fashion designer Jacquemus, who selected several pieces for the limestone niches in his Mediterranean-inspired Parisian restaurant, Oursin.",[618],[614],[721,845,846,755],"Exhibitions/Museums","Hospitality",[848,849,850,851,852],"Flower Vase","Fronde","Ray","Pisces","Ray Lamp",[854,855,856],"Raku clay","Terracotta","Ceramic",[636,858,635,817,859,639,819,641,821,860],"Totem","Lamp","Lighting",[646],[863],"Ceramicist",[618],-33.89860608452905,151.1697244855693,"Enmore, Australia","2026-02-12",{"_664":865,"_665":866},2548,{"_597":872,"_31":873,"_600":874,"_241":878,"_327":879,"_607":880,"_609":881,"_612":883,"_616":884,"_623":887,"_630":888,"_633":889,"_643":38,"_644":890,"_647":891,"_650":893,"_652":894,"_654":895,"_656":657,"_658":896,"_660":897,"_662":898,"_666":899},"profile-5128",5128,[875,876,877],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyE2_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyE2_Right1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyE2_Right2.jpg","Shannon Garson","shannon_garson-porcelain_crafting-maleny","Shannon Garson first began her creative career with a bachelor degree in visual arts, majoring in painting. While studying, she was invited by artists Monica Usher and Clairy Laurence to paint for their new gallery. While working with them, Shannon began to learn to throw clay. From this point onwards, she turned her drawing and painting skills to ceramics, discovering the durable medium of porcelain and the possibilities for layered, textured surfaces. \"My objects are anchored in a tradition of wheel throwing, as the high-fired, durable porcelain contrasts with the detailed paintings on the surface of my works,\" she explains. Shannon’s vessels are simultaneously pots that can be used and 3D canvases for drawings. All surfaces of the vessels, from inside to under the foot, are decorated. “If you unfolded the pot, it would be an unusually shaped, enormous drawing,” Shannon says.",[882],"Porcelain crafting",[614],[885,722,685,886],"Art de la table","Visual Arts",[],[],[],[646],[892],"Porcelain maker",[882],-26.75734168766145,152.8462255141222,"Maleny, Australia","2026-01-29",{"_664":894,"_665":895},4057,{"_597":901,"_31":902,"_600":903,"_241":907,"_327":908,"_607":909,"_609":910,"_612":912,"_616":913,"_623":915,"_630":921,"_633":924,"_643":38,"_644":926,"_647":927,"_650":929,"_652":930,"_654":931,"_656":657,"_658":932,"_660":933,"_662":934,"_666":935},"profile-5194",5194,[904,905,906],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000Ez4u_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000Ez4u_Left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000Ez4u_Right2.jpg","Meredith Woolnough","meredith_woolnough-embroidery-newcastle","Meredith Woolnough’s artistic path branches and spirals, just like the coral fans, leaf skeletons and shell lattices she evokes in her embroidered sculptures. A simple enrolment mix-up in her fine arts degree in Sydney diverted her from photography into textiles. \"It was an error that became a defining turn for my career,\" Meredith says. Guided by her curiosity and the fortuitous mistakes that have shaped her work, she found the twin techniques that anchor her practice. Today, Meredith works with freehand machine embroidery, which allows her to draw with the needle, and water-soluble fabric, which disappears to reveal her nature-inspired stitched forms. In this fusion of art and science, fortified by her degree in natural history illustration and her beloved scientific books, Meredith liberates and sanctifies nature’s forms.",[911],"Embroidery",[614],[721,722,914,886],"Science",[916,917,918,919,920],"Green-to-gold ginkgo circle","Nautilus Unity","Laurencia elata","Zignisis coral","Blue coral bowl",[922,923,770],"Fabric","Thread",[911,925,778],"Clothing",[646],[928],"Embroiderer",[911],-32.92976385110008,151.7843668184134,"Newcastle, Australia","2026-01-22",{"_664":930,"_665":931},1732,{"_597":937,"_31":938,"_600":939,"_241":943,"_327":944,"_607":945,"_609":946,"_612":948,"_616":949,"_623":953,"_630":954,"_633":955,"_643":38,"_644":956,"_647":957,"_650":959,"_652":960,"_654":961,"_656":657,"_658":962,"_660":963,"_662":964,"_666":965},"profile-5127",5127,[940,941,942],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyDL_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyDL_Left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyDL_Right2.jpg","Tammy Kanat","tammy_kanat-textile_sculpting-rushcutters_bay","Immersed in nature, working from her home studio or houseboat, Tammy Kanat is an artisan who trusts her intuition to craft large, sculptural fibre artworks. Her pieces are richly layered with texture and colour, as a result of extensive free play and experimentation. Tammy is passionate about colour and sources around 50% of her wool and fibre from excess stock. Each creation is uniquely crafted, coming together in a fast-moving process led by intuition. \"Even as I am making, I am unsure how the final piece will look,\" she shares. Starting from the centre of the work, Tammy builds the textural heart and soul of the artwork. Then, in a rapid crescendo of movement and inspiration, she picks up coloured threads and yarns and weaves, ties and knots them, adding texture and volume with hitches and tassels.",[947],"Textile sculpting",[614],[721,845,950,951,952],"Sustainable","Self-taught","Upcycling",[],[],[],[646],[958],"Textile sculptor",[947],-33.87718437027383,151.2283736988006,"Rushcutters Bay, Australia","2026-01-08",{"_664":960,"_665":961},2801,{"_597":967,"_31":968,"_600":969,"_241":973,"_327":974,"_607":975,"_609":976,"_612":978,"_616":979,"_623":981,"_630":987,"_633":990,"_643":38,"_644":996,"_647":997,"_650":999,"_652":1000,"_654":1001,"_656":657,"_658":1002,"_660":1003,"_662":1004,"_666":1005},"profile-5125",5125,[970,971,972],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000Eqft_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000Eqft_Left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000Eqft_Right2.jpg","Jeremy Lee","jeremy_lee-chair_making-mullumbimby","Taking his time in the workshop, every piece of furniture made by Jeremy Lee is a labour of love and dedication to his craft. Jeremy studied industrial design, which introduced him to the processes and philosophies that continue to inform his work today. After his apprenticeship as a furniture maker, he explored a slow, conscious methodology working with the grain of locally sourced timbers. He started his solo practice in 2014. \"I work according to what I call the ‘design triangle’. First, I examine the construction of a chair, ensuring structural integrity and durability. Then, I focus on ergonomics: a chair must be comfortable to fulfil its functional element. And finally, I attend to the aesthetics to craft a beautiful, timeless piece of furniture,\" he explains.",[977],"Chair making",[614],[980,755,950,769],"Design",[982,983,984,985,986],"Ari dining table and Big Z stools and bench","Brayer dining table and assorted chairs","Oni chair","Coco chair","Layla chair",[988,989,769],"Oak wood","Blackwood",[991,992,993,994,995],"Dining set","Chair","Tables","Sofa and Chairs","Furniture",[646],[998],"Chair maker",[977],-28.55448722825748,153.5154427230734,"Mullumbimby, Australia","2026-01-01",{"_664":1000,"_665":1001},2885,{"_597":1007,"_31":1008,"_600":1009,"_241":1013,"_327":1014,"_607":1015,"_609":1016,"_612":1017,"_616":1018,"_623":1021,"_630":1027,"_633":1028,"_643":38,"_644":1029,"_647":1030,"_650":1031,"_652":1032,"_654":1033,"_656":657,"_658":1034,"_660":1035,"_662":1036,"_666":1037},"profile-5087",5087,[1010,1011,1012],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000Ezd9_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000Ezd9_Left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000Ezd9_Right2.jpg","Maricelle Olivier","maricelle_olivier-ceramics-canberra","For Maricelle Olivier, South Africa and Australia come together to define her creative expression. Though the patterns present in both cultures are different, they align conceptually. After finishing her master's at the National Art School, Maricelle managed the Ceramics Studio at Ernabella Arts, the country's oldest, continuously running Indigenous Art Centre in South Australia’s Pukatja community. Here, she noticed the similarities in the landscapes of her two homes. “The bush in Australia is very similar to the safari lands of South Africa: the dry air, the buffalo grass,” says Maricelle. It is these terrains that inform the swollen vessels she hand builds, where, for example, colours lifted from the Australian galah meet patterned lines reminiscent of the vibrant textiles of her birthplace. \"Creating these pots anchors my longing for the South Africa of my childhood, while harnessing the wonder I havefor my chosen home’s wildlife,\" Maricelle explains.",[618],[614],[721,618,1019,722,1020,618],"Mixing cultures","Under 30",[1022,1023,1024,1025,1026],"Last Light","Luminescence","Mamba","Déjà vu","Aurum",[854,856],[635,639,641],[646],[863],[618],-35.27948597754683,149.1290936861278,"Canberra, Australia","2025-12-18",{"_664":1032,"_665":1033},4190,{"_597":1039,"_31":1040,"_600":1041,"_241":1045,"_327":1046,"_607":1047,"_609":1048,"_612":1050,"_616":1051,"_623":1052,"_630":1053,"_633":1054,"_643":38,"_644":1055,"_647":1056,"_650":1058,"_652":1059,"_654":1060,"_656":657,"_658":867,"_660":1061,"_662":1062,"_666":1063},"profile-4975",4975,[1042,1043,1044],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000F02z_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000F02z_Left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000F02z_Right2.jpg","Kendal Murray","kendal_murray-miniature_making-enmore","Kendal Murray was drawn to crafting tiny landscapes by the visual metaphors and psychological states they evoke. \"I am an assemblage artist who works with 3D elements. I spend painstaking hours creating my scenarios, carefully positioning each figure within expressive landscapes, so the image and storyline will ring true,\" she explains. This precision encourages viewers to project their own experiences and desires into them, which creates little sanctuaries of emotional immersion. Whether encasing her populated landscapes in cosmetic compacts, layering them atop purses or assembling them within stacked children’s tea-sets, Kendal’s sculptures interrogate themes of environmental identity and evoke nostalgic fantasies.",[1049],"Miniature making",[614],[],[],[],[],[646],[1057],"Miniature maker",[1049],-33.89939664603389,151.1705554498381,"2025-12-04",{"_664":1059,"_665":1060},2766,{"_597":1065,"_31":1066,"_600":1067,"_241":1071,"_327":1072,"_607":1073,"_609":1074,"_612":1075,"_616":1076,"_623":1078,"_630":1079,"_633":1080,"_643":38,"_644":1081,"_647":1082,"_650":1083,"_652":1084,"_654":1085,"_656":657,"_658":1086,"_660":1087,"_662":1088,"_666":1089},"profile-4974",4974,[1068,1069,1070],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyE5_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyE5_Left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyE5_Right2.jpg","Scott Chaseling","scott_chaseling-glass_sculpting-mittagong","After completing a degree in sculpture, Scott Chaseling found a job in glassblowing by chance. From then on, he was hooked. “It has been an incredible journey that has taken me around the world,” he says of his practice. He has worked, taught and exhibited in New York, Tokyo and Berlin, to name but a few. Scott’s career spans two luminous phases: in the 1990s, his monumental works at Leo Kaplan Modern marked him as a bold new voice. “I was a new kid on the block, and I had solo shows in New York,” he remembers. Today his smaller creations, alive with colour fusion and play, have won him recognition as a Loewe Foundation Craft Prize finalist of 2025. These joyful pots reveal Scott's technical mastery, combining blowing, fusing, murrine and reverse painting techniques. “I am a geek for technique,” Scott grins.",[611],[614],[1077,721,845,619],"Awarded",[],[],[],[646],[649],[611],-34.448911,150.431492,"Mittagong, Australia","2025-11-27",{"_664":1084,"_665":1085},3998,{"_597":1091,"_31":1092,"_600":1093,"_241":1097,"_327":1098,"_607":1099,"_609":1100,"_612":1102,"_616":1103,"_623":1104,"_630":1110,"_633":1112,"_643":38,"_644":1115,"_647":1116,"_650":1118,"_652":1119,"_654":1120,"_656":657,"_658":1121,"_660":1122,"_662":1123,"_666":1124},"profile-4900",4900,[1094,1095,1096],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyEA_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyEA_Left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyEA_Right2.jpg","Araceli Robledo Adams","araceli_robledo_adams-ceramic_decorating-dulwich_hill","When Araceli Robledo Adams was a child, her family moved from Spain to Australia, where her parents would point out the wildlife that surrounded them with awe. Later life took her back to Spain, as well as London and Toronto, where Araceli always painted watercolours of her surroundings, finding artist circles and studios wherever she went. A ceramics course in Greenwich Village sparked her love for porcelain, leading her back to Australia where she studied further, met her husband and settled in Sydney. \"One Easter at Lake Macquarie, we caught blue swimmer crabs, and I painted one,\" she says. Soon, she began hand painting native wildlife onto porcelain. For Araceli, adorning tableware with these creatures is a reminder to us all that nature is the ultimate luxury.",[1101],"Ceramic decorating",[614],[885,618,722,950,618],[1105,1106,1107,1108,1109],"Zimmer’s Sea Fan large platter","Chaceon Bicolor Crab large platter","Tropical Rock Lobster large platter","Common Lionfish large platter","Maori Wrasse large platter",[1111],"Porcelain",[1113,1114,642],"Serving platter","Serving ware",[646],[1117],"Ceramic decorator",[1101],-33.90021240849432,151.1436734429839,"Dulwich Hill, Australia","2025-11-20",{"_664":1119,"_665":1120},1164,{"_597":1126,"_31":1127,"_600":1128,"_241":1132,"_327":1133,"_607":1134,"_609":1135,"_612":1137,"_616":1138,"_623":1140,"_630":1146,"_633":1148,"_643":38,"_644":1150,"_647":1151,"_650":1153,"_652":1154,"_654":1155,"_656":657,"_658":1156,"_660":1157,"_662":1158,"_666":1159},"profile-4855",4855,[1129,1130,1131],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000Ezga_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000Ezga_Left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000Ezga_Right2.jpg","Hamish Donaldson","hamish_donaldson-glassblowing-red_hill","For glass artist Hamish Donaldson, the fast-paced challenge of glassblowing is balanced by the slower and more methodical processes of engraving. Through these techniques he channels ideas of magic and mysticism gathered from his travels and studies. Hamish’s works reflect inner and unseen forces, forged by his time spent with indigenous tribes of Australia and throughout South America, as well as his exploration of temple art and ancient alchemical traditions. Although he has trained at renowned institutions, including Washington State’s Pilchuk School, Istanbul’s Glass Furnace and Adelaide’s JAM factory, glass artistry also runs deep in his family. At the studio in the Mornington Peninsula, Hamish works alongside his parents and his brother, who share his craft. This is where Hamish continues their legacy, creating new forms that sing of his wanderings.",[1136],"Glassblowing",[614],[1139,619,754],"Digital tools",[1141,1142,1143,1144,1145],"Radiance (sun)","Radiance (moon)","Etheric clown (red)","Etheric clown (rust)","Its mother is the moon",[1147,619],"Blown glass",[638,636,1149,640,639,642,641],"Bowl",[646],[1152],"Glassblower",[1136],-38.36962774437587,145.0106931808682,"Red Hill, Australia","2025-10-30",{"_664":1154,"_665":1155},2408,{"_597":1161,"_31":1162,"_600":1163,"_241":1167,"_327":1168,"_607":1169,"_609":1170,"_612":1171,"_616":1172,"_623":1174,"_630":1180,"_633":1185,"_643":38,"_644":1186,"_647":1187,"_650":1188,"_652":1189,"_654":1190,"_656":657,"_658":1191,"_660":1192,"_662":1193,"_666":1194},"profile-4289",4289,[1164,1165,1166],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyCd_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyCd_Right1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyCd_Right2.jpg","Yoko Ozawa","yoko_ozawa-ceramics-brunswick_east","Yoko Ozawa carries within her the heritage from her native Japan, where ceramics are an omnipresent language. This tradition, while grounding, also felt stifling for Yoko. She moved to Melbourne in 2012, and the vastness of this new country’s landscape, the hues of its scorched ochre earth, and the dry air awakened new inspiration, which she translated into her ceramic work. \"I am still very attached to Japanese traditions,\" she says. Each of her ceramics encapsulates the philosophy of yohaku, a mindset in which the blank spaces inside and around forms are not void, but instead contain wind, rain, fog and gravity. \"To me it is where the drift of seasons, and tensions between people and objects hover,\" explains Yoko.",[618],[614],[618,1173,618],"Interiors",[1175,1176,1177,1178,1179],"Half #1 and #2","Eucalyptus","Hai 盃 Lunar Tall","Reflection of a ray of light","Hai 盃 in bronze and silver",[1176,856,1181,1182,1183,1184],"Glaze","Stoneware","Botanical","Enamel, glaze and lacquer",[635,639,641],[646],[863],[618],-37.773642,144.973883,"Brunswick East, Australia","2025-10-23",{"_664":1189,"_665":1190},5064,{"_597":1196,"_31":1197,"_600":1198,"_241":1202,"_327":1203,"_607":1204,"_609":1205,"_612":1207,"_616":1209,"_623":1211,"_630":1216,"_633":1225,"_643":38,"_644":1229,"_647":1230,"_650":1232,"_652":1233,"_654":1234,"_656":657,"_658":1235,"_660":1236,"_662":1237,"_666":1238},"profile-4323",4323,[1199,1200,1201],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyDG_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyDG_Left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyDG_Right2.jpg","Bic Tieu","bic_tieu-jewellery_making-sydney","Bic Tieu describes her jewellery pieces as laced metalwork that entangles like roots, and leaf patterns that mimic the murmur of swallows. There are hidden layers to her practice too, such as the combustible plywood peonies that she uses as casts. \"Each of my works, including my large-scale installations, speaks to the hybridity of my experience growing up with a Vietnamese-Chinese heritage in Australia. I also hint at this through my use of lacquer,\" Bic says. After studying with masters in Japan, she became recognised for her lacquer expertise, an interest that was sparked by a book a university mentor showed her. \"The book ignited memories of my parents' lush, jungled garden and the lacquered screens from my childhood home,\" says Bic. Though allergic to the resin, Bic persists on working with it. For her, discomfort is a rite of passage – it is where beauty begins.",[1206],"Jewellery making",[614,1208],"Sydney",[1139,803,722,1210],"Politically engaged",[1212,1213,1214,1215],"Kangaroo Paws","Thresholds","Moving Magnolia","Home Geometries",[1217,693,1218,1219,1220,812,1221,1222,1223,1184,695,694,769,1224,768],"Lacquer","Sterling silver","Plywood","Acrylic paint","Metal alloy","Shell","Gold plated","Synthetic materials and resins",[818,1226,635,1227,820,639,1228,778,641,995],"Jewellery set","Container","Furniture accessories",[646],[1231],"Jewellery maker",[1206],-33.87266,151.208281,"Sydney, Australia","2025-09-24",{"_664":1233,"_665":1234},3364,{"_597":1240,"_31":1241,"_600":1242,"_241":1246,"_327":1247,"_607":1248,"_609":1249,"_612":1251,"_616":1252,"_623":1254,"_630":1258,"_633":1260,"_643":38,"_644":1264,"_647":1265,"_650":1267,"_652":1268,"_654":1269,"_656":657,"_658":1191,"_660":1236,"_662":1270,"_666":501},"profile-4304",4304,[1243,1244,1245],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyCt_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyCt_Left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyCt_Right2.jpg","Geoff Duke","geoff_duke-bicycle_building-brunswick_east","For Geoff Duke, it was the retirement of another frame builder that inspired him to pick up his own tools and begin crafting steel bike frames by hand. A natural fit for this now fading craft, Geoff apprenticed as a teenager with a German company making instruments for the local automotive industry. Around then, his love for racing bikes also took hold. \"Although the cycling world has shifted gear since those days, leaning towards carbon and titanium frames, I remain devoted to the beauty of a bike in old ways: lugged construction, precisely cut steel, and handmade jigs,\" he explains. Building parts with his own hands allows Geoff to repair and craft bespoke frames for fellow enthusiasts. As manufacturing in Australia has declined and his peers have moved on, Geoff’s quiet persistence means he may be one of the last in the country of his kind.",[1250],"Bicycle building",[614],[1253,685],"Transportation",[1255,1256,1257],"Gravel frame with a tapered head tube","Bicycle frame built for long days","Single-speed frame and forks for the road",[1259,695,694],"Carbon steel",[1261,1262,1263],"Bicycle","Travel","Leisure",[646],[1266],"Bicycle builder",[1250],-37.8,145,{"_664":1268,"_665":1269},{"_597":1272,"_31":1273,"_600":1274,"_241":1278,"_327":1279,"_607":1280,"_609":1281,"_612":1282,"_616":1283,"_623":1285,"_630":1291,"_633":1294,"_643":38,"_644":1295,"_647":1296,"_650":1297,"_652":1298,"_654":1299,"_656":657,"_658":1300,"_660":1301,"_662":1302,"_666":1303},"profile-4315",4315,[1275,1276,1277],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyD6_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyD6_Right1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyD6_Right2.jpg","Lynette Lewis","lynette_lewis-ceramic_decorating-pukatja","Lynette Lewis decorates ceramics by hand using a sgraffito technique that reveals intricate traditional designs. She practises her craft in the Indigenous art centre Ernabella Arts, in the community of Ernabella-Pukatja in the APY Lands of northern South Australia. She lives in a very remote Aboriginal community where stories of the land and her elders shape her clay objects. Lynette uses the sgraffito technique, which involves scratching into the underglaze of ceramic pieces with a wooden tool, drawing motifs that emerge during or after firing. This method echoes milpatjunanyi, the custom of drawing in the sand to tell stories. \"This storytelling tradition is still alive today and it influences everything I do,\" Lynette says.",[1101],[614],[682,721,618,754,1284,622,685],"Indigenous",[1286,1287,1288,1289,1290],"Tjala Honey Ants 2","Tjala Honey Ants 4","Tjala Honey Ants 5","Tjala Honey Ants 3","Tjala Honey Ants 1",[1182,1292,1293,854,856,1184],"Terra sigillata","Underglaze",[635,639,641],[646],[1117],[1101],-26.279444,132.133061,"Pukatja, Australia","2025-09-11",{"_664":1298,"_665":1299},4072,{"_597":1305,"_31":1306,"_600":1307,"_241":1311,"_327":1312,"_607":1313,"_609":1314,"_612":1315,"_616":1316,"_623":1317,"_630":1323,"_633":1325,"_643":38,"_644":1326,"_647":1327,"_650":1328,"_652":1329,"_654":1330,"_656":657,"_658":1331,"_660":1332,"_662":1333,"_666":1334},"profile-4310",4310,[1308,1309,1310],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/a1OTG000000EyD4_Center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4)HAND_GESTURE9_Lisa_Cahill_(C)_Evan_-Papageorgio.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/5)OBJECT15_Birches_LISA-CAHILL_(C)_Brenton_McGeachie2025.jpg","Lisa Cahill","lisa_cahill-glass_sculpting-fyshwick","Lisa Cahill shapes fleeting moments into glass in her Canberra workshop, located on the industrial edge of Fyshwick. \"I am inspired by natural beauty, sunsets illuminating mountains, rain freckling pavements and even the soft valleys of a crumpled page. I translate these influences into delicate glass sculptures, which I then engrave, paint or fold before and after fire transforms them in my kilns,\" explains Lisa. Her sculptural works grace the walls of Tiffany & Co. boutiques across Australia and China, the Nobu Hotel in Atlanta and a memorial in Somme in France, which honours Australian servicemen who lost their lives to war. \"Each of my sculptures displays their fragility like armours,\" Lisa says.",[611],[614],[],[1318,1319,1320,1321,1322],"Shadow Anatomy","Two Fold","Cascade 3","Swell","Valley II",[1324,619],"Cast Glass",[637,639,641],[646],[649],[611],-35.33331,149.176321,"Fyshwick, Australia","2025-09-04",{"_664":1329,"_665":1330},486,{"_597":1336,"_31":1337,"_600":1338,"_241":1342,"_327":1343,"_607":1344,"_609":1345,"_612":1346,"_616":1347,"_623":1348,"_630":1354,"_633":1355,"_643":38,"_644":1356,"_647":1357,"_650":1358,"_652":1359,"_654":1360,"_656":657,"_658":1361,"_660":1362,"_662":1363,"_666":1364},"profile-4319",4319,[1339,1340,1341],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/3)EYE_GESTURE05_Madeline_Cardone_(C)Brooke_McEachern.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/1)EYE_GESTURE06_Madeline_Cardone_(C)Matteo_Macri.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/5)OBJECT05_Nero_Madeline_Cardone_(C)Bridie_Mackay.jpg","Madeline Cardone","madeline_cardone-glass_sculpting-griffith","It was in the corridors of Art School in Canberra that Madeline Cardone first encountered the world of glass. She took up a module in glasswork and has remained with the craft ever since. In her practice today, glass bends and resists, pushes and pulls as she shapes it into tense yet playful sculptures, reminiscent of sheets, fabric or skin. Madeline's Italian heritage meets her Australian upbringing in a material exploration of texture, sheen and form. A master of mould making, one of her most poignant works emerges from a bone-like structure first shaped by her ceramicist mother during her own student days, four decades earlier. Through this reclamation, Madeline upholds her family's legacy of creation.",[611],[614],[619,754,1020],[1349,1350,1351,1352,1353],"It’s only up from here","Embodied","Untitled ii from the Embodied series","Shroud","Ossa",[1324,619],[637,639,641],[646],[649],[611],-35.325667,149.142602,"Griffith, Australia","2025-08-28",{"_664":1359,"_665":1360},188,{"_597":1366,"_31":1367,"_600":1368,"_241":1372,"_327":1373,"_607":1374,"_609":1375,"_612":1376,"_616":1377,"_623":1378,"_630":1384,"_633":1387,"_643":38,"_644":1388,"_647":1389,"_650":1390,"_652":1391,"_654":1392,"_656":657,"_658":1393,"_660":1394,"_662":1395,"_666":1396},"profile-4317",4317,[1369,1370,1371],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/3)Hannah_Gason__Canberra_Glassworks_Pew_Pew_Studio_2024.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/Hannah_Gason_Canberra_Glassworks_Brooke_McEachern_2023.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/Hannah_Gason_Drafting_Light_II_2023_Andrew_Sikorski.jpg","Hannah Gason","hannah_gason-glass_sculpting-kingston","Hannah Gason’s ephemeral artworks come together in an installation of light, glass and space. \"Residencies around the world have allowed me to experiment and develop my skills while collaborating and connecting with glass makers,\" she says. In 2014, Hannah travelled to Bullseye Glass Co. in Portland in USA, where she first learned the process of glass compression. Now based in Canberra, Hannah starts her process by drawing out patterns and shapes in her sketchbook. Then, she squashes glass in the kiln and arranges the glass pieces with another kiln shelf on top of the glass, weighing it down with bricks. She later heats the glass on high temperatures, which completely compresses the glass. Here, the lines blur to capture the gradient in the glass for thin, delicate pieces, presented in installations that cover windows and add filters to catch reflections and light travelling through the glass artworks.",[611],[614],[721,619,755],[1379,1380,1381,1382,1383],"Pitter Patter","Cascade blue","Shaping Light series","Shades of Shadows","Ebb and Flow II",[619,1385,1386,694,1224],"Aluminium","LED",[637,619,639,640,641,642],[646],[649],[611],-35.311669,149.144795,"Kingston, Australia","2025-08-21",{"_664":1391,"_665":1392},5416,{"_597":1398,"_31":1399,"_600":1400,"_241":1404,"_327":1405,"_607":1406,"_609":1407,"_612":1408,"_616":1409,"_623":1412,"_630":1418,"_633":1419,"_643":38,"_644":1420,"_647":1421,"_650":1422,"_652":1423,"_654":1424,"_656":657,"_658":1425,"_660":1426,"_662":1427,"_666":1428},"profile-4320",4320,[1401,1402,1403],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/3)Studio Portrait Tom Moore.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4)Blowing Glass 4 Tom Moore.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/5)Bottle Marsupial 2017 Tom Moore.jpg","Tom Moore","tom_moore-glassblowing-north_plympton","Tom Moore is a glassblower who has a cast of quirky glass characters, each with their own personalities, based on his own design drawings. He carefully plans out his sculptures, inspired by nature, historical glass objects and other things he sees and feels. “I hope to capture the transformation of nature and human relationships – not in a way that objectifies nature, but in an attempt to subjectify glass,” Tom says. Sticking closely to his eccentric design drawings, he prepares the patterned and coloured glass rods for his characters in the glass furnaces at JamFactory in Adelaide. Tom makes his smaller elements at home, by reheating small pieces of coloured rod in a kiln, and shaping and joining these with a small, intense burner before completing the sculptures at the JamFactory.",[1136],[614],[682,1410,1411,721,619],"Fairytale","Family and Children",[1413,1414,1415,1416,1417],"Koala Isle","Cyclops Quintet","Baby Coconut Cart","Bird Pair","Kangaroo and Pelican",[1147,619],[637,639,641],[646],[1152],[1136],-34.951912,138.555853,"North Plympton, Australia","2025-08-14",{"_664":1423,"_665":1424},1857,{"_597":1430,"_31":1431,"_600":1432,"_241":1436,"_327":1437,"_607":1438,"_609":1439,"_612":1440,"_616":1441,"_623":1442,"_630":1448,"_633":1460,"_643":38,"_644":1463,"_647":1464,"_650":1465,"_652":1466,"_654":1467,"_656":657,"_658":1235,"_660":1468,"_662":1469,"_666":1470},"profile-4326",4326,[1433,1434,1435],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/3)Francois-Santo-Artisan©Francois-Santo.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/1)Francois-Santo-Artisan©Alessio-Cavallaro.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/5)Francois-Santo-Artisan©Francois-Santo.jpg","François Santo","franois-santo-vljcoa","Metals and precious stones have always been part of François Santo's life, as he was born into a family of third-generation Roman jewellers. He was surrounded by jewellery, whether in the workshop or at home, as his family was immersed in the Roman jewellery scene. François took his first professional steps as a fine jeweller in Rome, where he observed and learned the ancient and traditional techniques of jewellery making. \"I have a curious spirit and I am always hungry for knowledge. I never stop studying and evolving my craft,\" François says. Today, he lives and works in Sydney where he opened his own fine jewellery workshop in 2010. In his atelier, François creates flamboyant pieces with a vast range of materials including gemstones, precious metals and stone. He works on commission while also developing seasonal collections.",[1206],[614,1208],[1139,754,803],[1443,1444,1445,1446,1447],"L’amor che move il sole e l’altre stelle","Atahualpa & Cuxirimay","Pasha","Samurai","Life",[1449,1450,1451,1217,1452,1453,1454,856,1455,1456,1457,1458,1184,694,1459],"Enamel","18 carat gold","Diamond","Brass","Agate","Onyx","Ruby","Platinum","Sapphire","Lapis lazuli","Minerals",[1461,817,818,1462,820,819,778,821],"Ring","Earring",[646],[1231],[1206],-33.869225,151.209885,"2025-08-08",{"_664":1466,"_665":1467},2401,{"_597":1472,"_31":1473,"_600":1474,"_241":1478,"_327":1479,"_607":1480,"_609":1481,"_612":1482,"_616":1483,"_623":1484,"_630":1489,"_633":1496,"_643":38,"_644":1497,"_647":1498,"_650":1499,"_652":1500,"_654":1501,"_656":657,"_658":1502,"_660":1468,"_662":1503,"_666":1504},"profile-4321",4321,[1475,1476,1477],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/3)Lorem Ipsum, 2025, photo courtesy of Canberra Contemporary, photo credit Hilary Wardhaugh-2.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4)Process photo, photo credit Tom Glassey-10.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/5)Lorem Ipsum, installation view, 2025, photo courtesy of Canberra Contemporary, photo credit Brenton McGeachie-3 copy.jpg","Emeirely Nucifora-Ryan","emeirely_nucifora-ryan-glass_sculpting-mitchell","Working with neon and glass, Emeirely Nucifora-Ryan’s practice is shaped by reflecting and refracting light. She first discovered glass in 2012 in a workshop at ANU School of Art and Design and continues to be inspired by watching hot glass turn from molten to solid within moments. After working with mentors, she found herself intrigued by neon glassworks, as they are recyclable and consume less power as they run at a cooler temperature. \"Neon is entirely made by hand, which emphasises the manual aspect of my craft,\" she says. Emeirely's Process project won the David Henshall Emerging Artist category of the Fuse Glass Prize in 2024 and earned her a residency at the JamFactory. \"This recognition encouraged me to pursue my neon work and validated my aesthetic direction\", she shares. In 2025, Emeirely showcased her installations in the new and emerging art exhibition BLAZE 2025 at Canberra Contemporary.",[611],[614],[1077,845,619,620,914,1020],[1485,1486,1487,1488],"IV-1, IV-2, IV-3, IV-4","III-1, III-2","II-1, II-2, II-3","I-1, I-2, I-3, I-4, I-5",[1147,1490,619,1491,1492,1493,1494,1495,1224,770],"Fused-glass","Paper","Foam","Glass fibre fabric","LED Neon Flex","Cord",[637,639,641],[646],[649],[611],-35.2,149.1,"Mitchell, Australia",{"_664":1500,"_665":1501},2242,{"_597":1506,"_31":1507,"_600":1508,"_241":1512,"_327":1513,"_607":1514,"_609":1515,"_612":1516,"_616":1517,"_623":1518,"_630":1524,"_633":1529,"_643":38,"_644":1530,"_647":1531,"_650":1532,"_652":1533,"_654":1534,"_656":657,"_658":1535,"_660":1468,"_662":1536,"_666":1537},"profile-4314",4314,[1509,1510,1511],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/3)Simone-Fraser-Artisan©All-rights-reserved.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4)Simone-Fraser-Artisan©All-rights-reserved.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/5)Simone-Fraser-Artisan©Greg-Piper.jpg","Simone Fraser","simone-fraser-cruebv","Simone Fraser has been practising ceramics since the early 1980s and has developed a unique style for her vessels. \"To me, ceramics and the dry glaze process are inspired by life in the Australian landscape and its colour palette,\" she says. Simone begins her crafting process by coil throwing, before turning to a combination of hand building and wheelwork, where she shows the softness and malleability of clay. She dries the surface of her creations with a gas burner, and then layers the work with coloured slips or liquid clays. After a bisque firing, a thin dry watercolour glaze is applied, with the glaze pooling over the heavily textured surface. Simone sees her creations as icons, symbols and metaphors for her story. In some of her pieces, Simone accentuates details with 24-carat gold lustre.",[618],[614],[721,845,754,618],[1519,1520,1521,1522,1523],"Transition","Topographical","Ewer","Censer","Gulf",[1525,1526,1181,1527,1528,856,1184,694,1111],"Clay","Slip","Gold","Porcelain slip",[635,639,641],[646],[863],[618],-33.8,151.2,"Woolwich, Australia",{"_664":1533,"_665":1534},1087,{"_597":1539,"_31":1540,"_600":1541,"_241":1545,"_327":1546,"_607":1547,"_609":1548,"_612":1549,"_616":1550,"_623":1551,"_630":1557,"_633":1559,"_643":38,"_644":1560,"_647":1561,"_650":1562,"_652":1563,"_654":1564,"_656":657,"_658":1565,"_660":1566,"_662":1567,"_666":1568},"profile-4318",4318,[1542,1543,1544],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000003WMn4AM-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000003WMj4AM-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000003WMm4AM-right2.jpg","Annette Blair","annette-blair-cfp0rs","In her glasswork, Annette Blair interprets nostalgic connections, inspired by life, people and time, whether through small-scale artworks, large public installations, homeware or lighting. She refines her technical process both at her home studio in Burra, and at the Canberra Glassworks gallery. Annette has been practising glassblowing since 2005, which has allowed her to explore a myriad of processes and concepts. A recent accolade she received is a commission for the Australian War Memorial in Canberra which consists of around 1800 glass leaves. \"The pieces are designed to provide a moment of quiet reflection,\" says Annette. In 2025, she explores the passing of time through works that were built up from layers of glass enamels and rust, utilising the malleability and permanence of glass.",[1136],[614],[682,721,845,619],[1552,1553,1554,1555,1556],"Traces of stillness 11","Nest","Vestige 11","In stillness","The Passing Autumn",[619,1558,1449,769,1184],"Timber",[637,639,641],[646],[1152],[1136],-35.54208,149.23183,"Burra, Australia","2025-07-30",{"_664":1563,"_665":1564},2910,{"_597":1570,"_31":1571,"_600":1572,"_241":1576,"_327":1577,"_607":1578,"_609":1579,"_612":1580,"_616":1581,"_623":1583,"_630":1589,"_633":1591,"_643":38,"_644":1592,"_647":1593,"_650":1594,"_652":1595,"_654":1596,"_656":657,"_658":1597,"_660":1566,"_662":1598,"_666":1599},"profile-4322",4322,[1573,1574,1575],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000003XnV4AU-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000003XnR4AU-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000003XnU4AU-right2.jpg","Alexandra Hirst","alexandra-hirst-x172ca","To create her glass sculptures, Alexandra Hirst first starts with the hot, physical process of glassblowing, then turns to the cooler, meditative process of carving. \"My sculptures tell their own stories of landscapes and human emotion,\" she says. Alexandra uses traditional glassblowing methods and incorporates a modern approach through innovative techniques, such as casting, carving and etching. She works from the JamFactory in Adelaide, where the fast-paced nature of the studio has allowed her to further develop her skills and spend more time experimenting. Her work has been exhibited across the world, from Grainger Gallery in Canberra to Toyama Glass Museum in Japan, and many more. \"I fondly remember producing 120 handheld citrus squeezers for a citrus-themed launch party for Omniyat in Dubai,\" recalls Alexandra.",[611],[614],[1582,721,1139,619,622],"Craft therapy",[1584,1585,1586,1587,1588],"Leading Lines 1","Secret Recipe","Santalum Acuminatum Quandong","Leading Lines 2","Ocean Currents",[1590,619],"Etched glass",[637,639,641],[646],[649],[611],-34.9232280837868,138.593288317577,"Adelaide, Australia",{"_664":1595,"_665":1596},343,{"_597":1601,"_31":1602,"_600":1603,"_241":1607,"_327":1608,"_607":1609,"_609":1610,"_612":1611,"_616":1612,"_623":1614,"_630":1620,"_633":1621,"_643":38,"_644":1622,"_647":1623,"_650":1624,"_652":1625,"_654":1626,"_656":657,"_658":1627,"_660":1628,"_662":1629,"_666":1630},"profile-4324",4324,[1604,1605,1606],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000003QkP4AU-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000003QkL4AU-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000003QkO4AU-right2.jpg","Giles Bettison","giles-bettison-eqgpqc","Adopting the complex process of murrini, Giles Bettison layers patterns and colours to create intricate works of glass art. Now based near Adelaide, Giles grew up surrounded by the dramatic Australian landscape and continues to be inspired by it. As a teenager and young adult, he played in bands, and chose to pursue glass blowing as a form of artistic expression in his early twenties. Giles first attended the nearby University of South Australia, before getting a spot at the prestigious Canberra School of Art. \"My peers inspired me, along with teachers and mentors Klaus Moje and Stephen Procter,\" he shares. \"In murrini, I discovered a medium and technique of vast graphic possibilities.\" Today, his weeks-long process of heating, forming and cooling glass is inspired by the grids, rhythms and textures of rural and urban landscapes, and the highly detailed patterns of lace and woven fabrics.",[1136],[614],[619,1019,1613],"Mentored",[1615,1616,1617,1618,1619],"Billett 07 #27","South East #3","Chroma 15 #2","Tunkalilla 23 #8","Lace 15 #1",[619],[637,639,641],[646],[1152],[1136],-34.914249,138.633432,"Maylands, Australia","2025-07-03",{"_664":1625,"_665":1626},2979,{"_597":1632,"_31":1633,"_600":1634,"_241":1638,"_327":1639,"_607":1640,"_609":1641,"_612":1643,"_616":1644,"_623":1646,"_630":1652,"_633":1653,"_643":38,"_644":1654,"_647":1655,"_650":1657,"_652":1658,"_654":1659,"_656":657,"_658":1660,"_660":1661,"_662":1662,"_666":1663},"profile-4308",4308,[1635,1636,1637],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG00000039hx4AA-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG00000039ht4AA-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG00000039hw4AA-right2.jpg","Sophie Carnell","sophie-carnell-almywo","Slow, thoughtful, and intuitive making underpins Tasmanian-based Sophie Carnell’s art practice as she connects her audience with the environment. She grew up in a creative home in the Cotswolds, UK, moving to Australia at the age of 21. Sophie uses ethically sourced Australian silver, either sterling or pure, to produce her soft organic artworks. Flowers, stems, leaves, or native fruits are captured in this precious material. She begins her process by researching the plants extensively and examines historical botanical drawings. From there, she conceptualises the subject matter into building blocks and cuts the shapes from sheet silver. Sophie then applies heat and hammer to make her pieces.",[1642],"Silversmithing",[614],[682,721,1645,722,622],"Flowers",[1647,1648,1649,1650,1651],"Two framed silver plants","Yearning","Utricularia australis/Yellow bladderwort","Conospermum hookeri/Tasmanian smokebush","Passiflora herbertiana/native passionfruit",[1218,769,694],[817,819,821],[646],[1656],"Silversmith",[1642],-43.1,147.4,"Barnes Bay, Australia","2025-05-08",{"_664":1658,"_665":1659},3586,{"_597":1665,"_31":1666,"_600":1667,"_241":1670,"_327":1671,"_607":1672,"_609":1673,"_612":1674,"_616":1675,"_623":1676,"_630":1682,"_633":1688,"_643":38,"_644":1689,"_647":1690,"_650":1691,"_652":1692,"_654":1693,"_656":657,"_658":1694,"_660":1695,"_662":1696,"_666":1697},"profile-4325",4325,[1668,1669],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG000000347A4AQ-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG00000034784AA-left1.jpg","Emma Davies","emma-davies-vvp2fv","Melbourne-based Emma Davies first realised she loved working with her hands in Milan, Italy, in 1992 when she worked in a print workshop. When she returned to Australia, she found a studio and began working up sculptures with resin and fibre glass. After ten years, she turned to polypropylene plastic to craft inventive and creative installations. Emma's methodology is entirely self-taught and innovative, with her own unique expression in unexpected materials for an experimental approach. Emma takes inspiration from the natural world, contradicting the man-made element of the materials she uses. Their texture influences her as she weaves and welds them into sculptures, reshaping them to take on organic forms.",[947],[614],[620,950,951,952],[1677,1678,1679,1680,1681],"Baskets","Leaf Litter","Containment","Coracle","Fossick",[1683,1684,1685,1686,1687,1224,770,694,768],"Polypropylene","Twine","Wire","Netting","Bone",[817,819,821],[646],[958],[947],-37.953733,145.029386,"Highett, Australia","2025-04-17",{"_664":1692,"_665":1693},2164,{"_597":1699,"_31":1700,"_600":1701,"_241":1705,"_327":1706,"_607":1707,"_609":1708,"_612":1709,"_616":1710,"_623":1712,"_630":1718,"_633":1720,"_643":38,"_644":1721,"_647":1722,"_650":1723,"_652":1724,"_654":1725,"_656":657,"_658":1726,"_660":1727,"_662":1728,"_666":1729},"profile-4291",4291,[1702,1703,1704],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG00000030hu4AA-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG00000030hq4AA-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG00000030ht4AA-right2.jpg","Jeffrey Sarmiento","jeffrey-sarmiento-yjuty2","Jeffrey Sarmiento is a Filipino-American glass artist. He was born in Chicago, studied glass design in Rhode Island and Denmark, acquired a PhD in the UK, and is now a Senior Lecturer at The Australian National University School of Art and Design. Combining deep material knowledge, traditional glassblowing training, and state-of-the-art glass cutting and printing techniques, Jeffrey explores cultural identity, belonging, transience and time by experimenting with contours and transparency. In his sculptures, he constructs alternative narratives through layering, obscuring or distorting of glass. \"Historically, glass has migrated geographically and culturally as a material, adapting and transforming stylistically and technologically,\" says Jeffrey, \"making it the perfect material for my exploration of perspective and themes.\"",[611],[614],[1139,619,683,1711],"Teacher",[1713,1714,1715,1716,1717],"Cappio","Encyclopaedia","Export Quality","Centre","Encyclopaedia Form 1",[619,1324,1147,1719],"Mirror",[637,639,641],[646],[649],[611],-35.3,149.5,"Bungendore, Australia","2025-04-10",{"_664":1724,"_665":1725},3612,{"_597":1731,"_31":1732,"_600":1733,"_241":1737,"_327":1738,"_607":1739,"_609":1740,"_612":1741,"_616":1742,"_623":1745,"_630":1749,"_633":1750,"_643":38,"_644":1753,"_647":1754,"_650":1755,"_652":1756,"_654":1757,"_656":657,"_658":1758,"_660":1727,"_662":1759,"_666":1760},"profile-4288",4288,[1734,1735,1736],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG00000031kO4AQ-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG00000031kM4AQ-right1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG00000031kN4AQ-right2.jpg","Charlie & Mieke De Deyne","charlie--mieke-de-deyne-bydfl5","Ceramicist Mieke De Deyne shares that her daughter Charlie would always join her in the studio on the Sunshine Coast as a child. The two of them ended up studying at the same time, although they attended different universities so as not to cramp each other’s style. Together, they have visited many workshops and ceramic fairs and spent several months in the porcelain capital of the world, Jingdezhen in China, with a programme from the ANU, Australian National University. Working together came naturally for Mieke and Charlie as they exchanged ideas and combined ceramic practice, selling at the Brisbane GOMA Markets. Mieke brings a contemporary vision with the design and shape of vessels, while Charlie works on glaze development. In 2017, they launched Mas and Miek Ceramic House, now offering workshops in wheelwork and hand-building at two studios spaces.",[618],[614],[1743,618,1744],"Family business","Creative duos",[1746,636,1747,1748],"Plate","Vases","Cups",[1182,1181,856,1184],[1746,636,1751,1752,639,640,642,641],"Cup","Dishware",[646],[863],[618],-27.447775,153.043965,"Newstead, Australia",{"_664":1756,"_665":1757},482,{"_597":1762,"_31":1763,"_600":1764,"_241":1768,"_327":1769,"_607":1770,"_609":1771,"_612":1772,"_616":1774,"_623":1775,"_630":1781,"_633":1788,"_643":38,"_644":1791,"_647":1792,"_650":1793,"_652":1794,"_654":1795,"_656":657,"_658":1796,"_660":1797,"_662":1798,"_666":1799},"profile-4753",4753,[1765,1766,1767],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002eau4AA-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002eas4AA-right1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002eat4AA-right2.jpg","Ema Shin","ema-shin-k0rbre","Ema Shin’s intricate artworks are influenced by anatomy and botanical forms. She combines the traditional and contemporary to create bold, colourful works full of emotional energy using complex tapestry-making techniques and embroidery. She is a self-taught embroiderer since childhood and initially trained as a printmaker in Japan. In Australia, Ema studied tapestry weaving and began her practice thereafter. \"Textiles suited my new lifestyle as a parent after 2014. I was able to be creative in short bursts,\" explains Ema. Life experience inspired her to share the untold stories of women through her sculptures which feature the human body in great detail, from a pelvis to lungs or the heart, to address what we hide away. Ema works out of a studio space at the Australian Tapestry Workshop.",[947],[614,1773],"Melbourne",[845,620,722,914,951],[1776,1777,1778,1779,1780],"Hearts of Absent Women #16","Hearts of Absent Women #12","Soft Alchemy wall-hanging","Hearts of Absent Women #15","Hearts of Absent Women #8",[1782,1783,765,1784,1685,1785,813,1786,1787,695,770,619,694,1224],"Wool","Cotton","Glass beads","Polyester","Metal wire","Muslin",[1789,817,1790,819,641,821],"Wall hanging","Wall decorations",[646],[958],[947],-37.835239,144.960576,"Melbourne, Australia","2025-01-30",{"_664":1794,"_665":1795},5117,{"_597":1801,"_31":1802,"_600":1803,"_241":1807,"_327":1808,"_607":1809,"_609":1810,"_612":1812,"_616":1813,"_623":1814,"_630":1820,"_633":1821,"_643":38,"_644":1823,"_647":1824,"_650":1826,"_652":1827,"_654":1828,"_656":657,"_658":1829,"_660":1830,"_662":1831,"_666":1832},"profile-4306",4306,[1804,1805,1806],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002QZZ4A2-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002QZV4A2-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002QZY4A2-right2.jpg","Alana Marcus","homofaber-1rthlr","Alana Marcus is a lapidarist artisan who sources sapphires from her remote Australian property in Inverell, New South Wales, known as Sapphire City. She works with a VJ faceting machine. Alana's craft consists in gently enhancing the sapphires, reshaping them to find the best angles – those that will honour the natural hues and composition to increase vibrancy and light return. She is self-taught and works with local jewellers who purchase her custom-cut sapphires. As a member of the Australian Faceting Guild, Alana also passes on her learnings and techniques informally. \"I have connected with clients who, like me, respect sapphires in their natural state,\" she says.",[1811],"Lapidary",[614],[803,951,622],[1815,1816,1817,1818,1819],"Sparkler","Wattle","Éthereal","Seaside","Daintree",[1457,1459],[1822,820,778],"Precious stone",[646],[1825],"Lapidarist",[1811],-29.685117,151.314429,"Sapphire, Australia","2024-12-19",{"_664":1827,"_665":1828},2605,{"_597":1834,"_31":1835,"_600":1836,"_241":1840,"_327":1841,"_607":1842,"_609":1843,"_612":1844,"_616":1845,"_623":1847,"_630":1853,"_633":1859,"_643":38,"_644":1864,"_647":1865,"_650":1866,"_652":1867,"_654":1868,"_656":657,"_658":1869,"_660":1870,"_662":1871,"_666":1872},"profile-4290",4290,[1837,1838,1839],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002PNM4A2-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002PNK4A2-right1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002PNL4A2-right2.jpg","Bethamy Linton","homofaber-rs9hb6","Based in Perth in Western Australia, Bethamy Linton has been surrounded by the world of silversmithing since her childhood. \"My family's workshop was a treasure trove of inspiration,\" she says. Bethamy undertook an apprenticeship in fine jewellery, before venturing into studies in art and design. With a focus on making, she turned towards silversmithing after her studies. Bethamy is committed to the handcrafted, her process unfolding from designing, sawing, filing, soldering, and finishing—manipulating the raw materials into the final pieces through force and heat. Her creations include a mix of fine jewellery, conceptually driven objects and jewellery, as well as functional silver hollowware and tableware. She makes pieces on commission as well as for her own creative expression. Her approach embodies a long-lens perspective on the act of making experienced through generations.",[1642],[614],[885,721,845,754,803,1210,1846],"Religion",[1848,1849,1850,1851,1852],"Trichosurus vulpecula and Dasyurus geoffroii","St George’s Cathedral Patricia Pigeon Bequest communion-ware","King Brown casket","Red Goshawk icon","Tellus ring and Garland rings",[1218,1854,1527,1855,1856,1857,1858,1491,694,1459],"Titanium","Chrysoprase","Gold Leaf","Silver","Gemstone",[817,1860,1861,1789,1226,819,1862,639,1790,820,821,1863,641,778],"Chalice","Box","Ceremonial objects","Spiritual",[646],[1656],[1642],-31.903974,115.948329,"Bassendean, Australia","2024-12-12",{"_664":1867,"_665":1868},416,{"_597":1874,"_31":1875,"_600":1876,"_241":1880,"_327":1881,"_607":1882,"_609":1883,"_612":1884,"_616":1885,"_623":1886,"_630":1892,"_633":1894,"_643":38,"_644":1895,"_647":1896,"_650":1897,"_652":1898,"_654":1899,"_656":657,"_658":1900,"_660":1901,"_662":1902,"_666":1903},"profile-4312",4312,[1877,1878,1879],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002JUr4AM-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002JUn4AM-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002JUq4AM-right2.jpg","Mel Robson","mel-robson-ymhgia","Mel Robson’s love for ceramics started in her twenties after a night class she took for fun. This led her to undertake a series of formal studies and traineeships, including under masters such as Patsy Hely and John Nealy. Today, she mostly learns through self-exploration and collaborations. Initially drawn to the utilitarian nature of clay, Mel soon grew interested in the ways objects can go beyond their function, to hold and tell stories. To engage with people personally and create connections between the past and present, she borrows evocative imagery from handwriting, maps, and other archival materials. Increasingly, she is inspired by the natural world, especially the desert around her. \"The remarkable colours and light there have shaped my pieces and still move me every day,\" says Mel.",[618],[614],[885,618],[1887,1888,1889,1890,1891],"Territory vessel","Australian Pastoral","Pastoral","Fenced","Porcelain map vessel",[1528,1893,855,1111,856,1182,1181,1184],"Black clay",[1149,635,639,641],[646],[863],[618],-23.689087,133.895203,"Alice Springs, Australia","2024-11-28",{"_664":1898,"_665":1899},4842,{"_597":1905,"_31":1906,"_600":1907,"_241":1910,"_327":1911,"_607":1912,"_609":1913,"_612":1914,"_616":1915,"_623":1916,"_630":1922,"_633":1923,"_643":38,"_644":1925,"_647":1926,"_650":1927,"_652":1928,"_654":1929,"_656":657,"_658":1930,"_660":1931,"_662":1932,"_666":1933},"profile-4287",4287,[1908,1909],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002Hkm4AE-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002Hkk4AE-left1.jpg","Susan Hipgrave","susan-hipgrave-wxdqjm","Susan Hipgrave’s highly detailed artworks result from hours of painting on porcelain plates and discs. Current issues like climate change and the environment influence her practice. Susan owns a large collection of old European 19th-century encyclopaedias that she uses as inspiration and to reconsider her subject matter. \"What is going on in the world can pull me in different directions,\" says Susan. Her signature approach is to use black lines on white backgrounds, her artworks begging the viewer to fill in the colour. Alongside a solo exhibition at Arthouse Gallery in 2019, Susan’s biggest accolade was presenting her work in ‘SIXTY’ at Collect Gallery, JamFactory, Adelaide, in 2023, which showcased Australia’s most prominent ceramicists.",[1101],[614],[682,721,618,722,886],[1917,1918,1919,1920,1921],"Banyan tree","A fine balance","Anaconda at home","Black Swan","The old oak tree",[1293,1111,1184],[1924,1790,641],"Decorative painting",[646],[1117],[1101],-33.892805,151.214415,"Redfern, Australia","2024-11-21",{"_664":1928,"_665":1929},674,{"_597":1935,"_31":1936,"_600":1937,"_241":1941,"_327":1942,"_607":1943,"_609":1944,"_612":1945,"_616":1946,"_623":1947,"_630":1953,"_633":1956,"_643":38,"_644":1957,"_647":1958,"_650":1959,"_652":1960,"_654":1961,"_656":657,"_658":1962,"_660":1931,"_662":1963,"_666":1964},"profile-4309",4309,[1938,1939,1940],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002HmP4AU-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002HmL4AU-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000002HmO4AU-right2.jpg","Nick Mount","nick-mount-0derep","Nick Mount defies any expectation of what glass should look like, offering a softness that looks full of movement. The forms he crafts result from manipulating molten glass at the end of a long blowpipe, which he constantly turns, giving shape through this movement and his breath. Nick uses traditional glass-making tools, unchanged for thousands of years. In his 50 years of practice, Nick has created sculptural compositions by using a soffietta made by Carlo Doná, shears made by his friend Jeff Lindsay to cut the molten glass, tweezers to pull the glass, wooden tongs and paddles, and moulds made from cherry, plum, and apple wood.",[611],[614],[619,1711],[1948,1949,1950,1951,1952],"Lean In","Co-pilot","Noble Humbug, A Still Life","Scent Bottle with Votive","Pink Iona with Lemberger and Sweet Jubilee",[1954,1147,988,1955,770,619,769],"Cane","Ebony wood",[817,819,821],[646],[649],[611],-34.932061,138.655244,"Leabrook, Australia",{"_664":1960,"_665":1961},476,{"_597":1966,"_31":1967,"_600":1968,"_241":1972,"_327":1973,"_607":1974,"_609":1975,"_612":1976,"_616":1977,"_623":1978,"_630":1984,"_633":1985,"_643":38,"_644":1990,"_647":1991,"_650":1992,"_652":1993,"_654":1994,"_656":657,"_658":1995,"_660":1996,"_662":1997,"_666":1998},"profile-4303",4303,[1969,1970,1971],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001Uk54AE-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001Uk14AE-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001Uk44AE-right2.jpg","Jane Sawyer","jane-sawyer-dtf3an","Inspired by a ceramics conference with Michael Cardew, Jane Sawyer took the long path of apprenticeships in Australia and in a Japanese pottery in the 1980s. This gave her a holistic framework to forge her unique style of gestural ceramics. Slowing down the wheel enables her to shape her vessels more spontaneously. To make her pieces, Jane breaks the rules of symmetry to reveal the plasticity of clay. \"A cream slip accentuates the rich terracotta colour,\" she explains. Her vessels have a strong tactile sense, allowing the user to trace the hands of the maker. She shares this approach in the ceramics school she set up, Slow Clay Centre. For Jane, ceramics connect to the deep time of natural forces. She holds an MFA degree by research and is active in a number of collectives that support environmental values and is a member of the International Academy of Ceramics.",[618],[614],[885,618,1173,1711],[1979,1980,1981,1982,1983],"Serving dish, Massage series","Gas Giant #1","Bucket and watering can","Extend #1","Two teapots, Fluid series",[],[1113,817,1986,1987,1114,819,1988,1989,642,821],"Watering can","Teapot","Patio and Garden","Coffee and tea",[646],[863],[618],-37.797163,144.985414,"Collingwood, Australia","2024-08-29",{"_664":1993,"_665":1994},5435,{"_597":2000,"_31":2001,"_600":2002,"_241":2006,"_327":2007,"_607":2008,"_609":2009,"_612":2010,"_616":2011,"_623":2012,"_630":2019,"_633":2028,"_643":38,"_644":2029,"_647":2030,"_650":2031,"_652":2032,"_654":2033,"_656":657,"_658":2034,"_660":1996,"_662":2035,"_666":2036},"profile-4285",4285,[2003,2004,2005],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001Utl4AE-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001Uth4AE-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001Utk4AE-right2.jpg","Jody Loaring","jody-loaring-ibgyyz","Born in Margaret River, now based in Broome, Jody Loaring studied textiles in a Bachelor of Art. Today, this influences her sculptures, coiled forms and woven works, that include found natural materials. Her family history and personal life experiences feed the thematics of her artworks. Jody's process begins with gathering as she explores environments such as the shoreline, looking for interesting textures she can use in her artworks. She collects natural fibres such as driftwood and grass fibres, as well as recycled discarded nylon beach rope. Jody draws inspiration from the collected materials with their beauty and natural colouration. She combines these with other manufactured fibres, metals, and plaster to create sculptural works that stand on a handmade armature base.",[800],[614],[169,620,622,1711],[2013,2014,2015,2016,2017,2018],"The Eternal Sea","To the Place of the Moon","The Servant","The Ballad of Mary Smith","Retreat. The Whaling.","Bound to the Martuwarra",[2020,2021,2022,923,2023,2024,1222,2025,812,815,1856,1684,2026,770,769,768,2027,694],"Oil varnish","Plaster","Rope","Driftwood","Feathers","Beeswax","Cement, plaster, pigments","Natural essences",[817,819,821],[646],[824],[800],-17.94457,122.234337,"Djugun, Australia",{"_664":2032,"_665":2033},5305,{"_597":2038,"_31":2039,"_600":2040,"_241":2044,"_327":2045,"_607":2046,"_609":2047,"_612":2048,"_616":2049,"_623":2050,"_630":2056,"_633":2057,"_643":38,"_644":2058,"_647":2059,"_650":2060,"_652":2061,"_654":2062,"_656":657,"_658":2063,"_660":1996,"_662":2064,"_666":2065},"profile-4293",4293,[2041,2042,2043],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001Soj4AE-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001Sof4AE-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001Soi4AE-right2.jpg","Jessica Loughlin","jessica-loughlin-tvocj7","Jessica Loughlin learned Japanese sumi-e painting as a child which helped her appreciate tone and essence, and she was apprenticed in design by her architect father. Jessica converted to glass after seeing it melt in a kiln for the first time: \"I was fascinated by how the material could hold light,\" she says. She decided to study kiln-forming while still in high school and then completed a BA in Visual Art at the Australian National University. Jessica moved to Adelaide where she co-founded Gate 8 Workshop and, through experimentation, she developed a unique kiln-forming technique with the use of fused glass powder. Her work reflects subtle shifts of light that are experienced over time, evoking distant horizons. She was a finalist in the 2020 Loewe Craft Prize and has won many other prizes.",[611],[614],[1077,619,683,622,886],[2051,2052,2053,2054,2055],"Receptor of light x 2018","Resonance x","Focal point","Receptor of light xx, xvi, xxi","Through distance",[619],[817,819,821],[646],[649],[611],-34.913856,138.573156,"Thebarton, Australia",{"_664":2061,"_665":2062},4823,{"_597":2067,"_31":2068,"_600":2069,"_241":2072,"_327":2073,"_607":2074,"_609":2075,"_612":2076,"_616":2077,"_623":2078,"_630":2084,"_633":2085,"_643":38,"_644":2088,"_647":2089,"_650":2090,"_652":2091,"_654":2092,"_656":657,"_658":2093,"_660":1996,"_662":2094,"_666":2095},"profile-4286",4286,[2070,2071],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001afo4AA-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001afm4AA-left1.jpg","Mel Douglas","mel-douglas-bj5vy0","Mel Douglas is one of Australia's most renowned glass artists. She honed her skills and vision at the Australian National University, where she completed a PhD. Her works are abstract forms that are painstakingly engraved with fine lines which produces a mesmerising effect. Mel's works create a fluid relation between convex and concave forms that evoke interior and exterior spaces. She has won many prizes, such as the Ebeltoft International Young Glass Award, Ranamok and Tom Malone Prizes, as well as being a finalist for the Loewe Foundation Craft Prize. Her work is in many collections, including the Corning Museum of Glass. Mel has been passing on her knowledge to apprentices and students since the early 2000s.",[1136],[614],[1077,721,619,1711],[2079,2080,2081,2082,2083],"Fold series 2019","Decent 2019","Interstices VII","Overlay","Lumen I & II",[619,1147],[2086,817,2087,819,821],"Wall panel","Building elements",[646],[1152],[1136],-35.267349,149.112937,"O'Connor, Australia",{"_664":2091,"_665":2092},4175,{"_597":2097,"_31":2098,"_600":2099,"_241":2102,"_327":2103,"_607":2104,"_609":2105,"_612":2106,"_616":2107,"_623":2108,"_630":2115,"_633":2119,"_643":38,"_644":2120,"_647":2121,"_650":2122,"_652":2123,"_654":2124,"_656":657,"_658":2125,"_660":1996,"_662":2126,"_666":2127},"profile-4313",4313,[2100,2101],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001g6u4AA-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001g6s4AA-left1.jpg","Avital Sheffer","avital-sheffer-tbzdln","Avital Sheffer came to pottery following an earlier career in fashion and the arts. She describes her discovery of the craft as “a lightning strike,” after visiting the Dead Sea Scrolls in the Shrine of the Book, in Jerusalem. Although not describing herself as a religious person, the containers of the Dead Sea Scrolls inspired her love of clay. A few weeks later, she had enrolled in a ceramics course. In the second lesson of art school, Avital started hand building large-scale ceramic vessels, a style that is still hers today. Her work uses coils, slabs, carvings, appendages and print work. Avital has developed a method of silk screen printing which allows her to apply print to rounded surfaces, a technique which she uses substantially.",[618],[614],[618,169,1019,755],[2109,2110,2111,2112,2113,2114],"Trasluz III","Azul III & Filia V","Lusitana","Hadira V & Hadira IV","Kulmus III & Kalos VI","Albacora",[2116,2117,2118,812,856,1525,1459,694],"Engobes","Earthenware","Gold luster",[635,639,641],[646],[863],[618],-28.519693,153.447749,"Main Arm, Australia",{"_664":2123,"_665":2124},3674,{"_597":2129,"_31":2130,"_600":2131,"_241":2135,"_327":2136,"_607":2137,"_609":2138,"_612":2139,"_616":2140,"_623":2141,"_630":2147,"_633":2150,"_643":38,"_644":2152,"_647":2153,"_650":2154,"_652":2155,"_654":2156,"_656":657,"_658":2157,"_660":1996,"_662":2158,"_666":2159},"profile-4302",4302,[2132,2133,2134],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001Ugr4AE-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001Ugn4AE-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001Ugq4AE-right2.jpg","Honor Freeman","honor-freeman-hdnvrc","Honor Freeman's passion for ceramics ignited in a high school art room under the guidance of her enthusiastic teacher, Rose. After earning her degree from the South Australian School of Art in 2001, Honor joined JamFactory, a not-for-profit organisation promoting craftsmanship in Australia, as an Associate and later as a tenant, where she refined her craft. Her work delves into themes of time, memory, and nostalgia. By crafting pieces that evoke a sense of longing and reminiscence, she creates art that connects deeply with the past while creating a spark in the present. Honor values clay’s humble origins and the transformative magic of firing, which continuously challenges and inspires her. Her creative process merges traditional techniques with modern interpretations, resonating with viewers through both emotional depth and materiality.",[618],[614],[721,618,845],[2142,2143,2144,2145,2146],"Fade (Small acts of care and repair)","Ordinary Leavings (23)","Fade","Ordinary Leavings (66)","Soap score",[2118,1111,2148,2149,1459,1224,768],"Soap","Sponge",[2151,817,1790,819,641,821],"Wall decor",[646],[863],[618],-35.51304,138.56413,"Fleurieu Peninsula, Australia",{"_664":2155,"_665":2156},3190,{"_597":2161,"_31":2162,"_600":2163,"_241":2167,"_327":2168,"_607":2169,"_609":2170,"_612":2171,"_616":2172,"_623":2173,"_630":2179,"_633":2182,"_643":38,"_644":2186,"_647":2187,"_650":2188,"_652":2189,"_654":2190,"_656":657,"_658":2191,"_660":1996,"_662":2192,"_666":2193},"profile-4298",4298,[2164,2165,2166],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001UTx4AM-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001UTt4AM-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001UTw4AM-right2.jpg","Jin Ah Jo","jin-ah-jo-7vrhtf","A student of Gemology in South Korea, Jin Ah Jo moved to Australia with a friend to discover a different culture. In Melbourne she discovered the thriving contemporary jewellery scene known for its experimentation with materials. She gave up using precious stones and metals, preferring to experiment with materials associated with architecture, such as steel beams and mesh. Jin Ah initially sold her works through galleries. Her work is often project-based and supplemented with a journal published on her website. During Melbourne's lockdown in 2020, she made elegant brooches inspired by the old pipes in her studio. Her artistic work has an unpredictability in the choice of materials and form, that make her aesthetic very contemporary.",[1206],[614],[821,803,1019],[2174,2175,2176,2177,2178],"Leakage pendant","Red Hexagon Window bracelet","Blue Perforation bracelet","Free Style and Bubbles","Aftermath pendant",[2180,813,1385,1452,695,1857,1449,2181,770,694,1184],"Patina","Coatings",[2183,2184,2185,820,778],"Pendant","Bracelet","Necklace",[646],[1231],[1206],-37.70219,144.977534,"Fawkner, Australia",{"_664":2189,"_665":2190},3029,{"_597":2195,"_31":2196,"_600":2197,"_241":2201,"_327":2202,"_607":2203,"_609":2204,"_612":2206,"_616":2207,"_623":2208,"_630":2214,"_633":2216,"_643":38,"_644":2221,"_647":2222,"_650":2224,"_652":2225,"_654":2226,"_656":657,"_658":2227,"_660":1996,"_662":2228,"_666":2229},"profile-4299",4299,[2198,2199,2200],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001SyP4AU-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001SyL4AU-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001SyO4AU-right2.jpg","Damien Wright","damien-wright-lebwej","For Damien Wright, furniture is more than just something comfortable to sit on. It is an important expression of who we are as individuals, cultures and humanity. After completing a university degree in history, he found woodworking a practical way of realising his values. Damien set about reforming traditional skills to accommodate the unique beauty of Australian timbers, including ancient red gum. This eventually led him to being invited to help establish a furniture workshop in the Yolngu community of Gunyangara North East Arnhem land. Out of this came a lifelong partnership with Bonhula Yunupingu, resulting in collaborative works collected by museums. Damien believes firmly in the handmade as a key to enduring beauty. He is regularly commissioned by architects and those who believe in beauty for the long term.",[2205],"Furniture making",[614],[980,622,769],[2209,2210,2211,2212,2213],"S&D table","Pama cabinet","Brief desk","Food Bowl","Reading chair with Ned side table",[764,988,2215,769,763,768],"Pine wood",[2217,2218,2219,1746,992,993,2220,1752,994,995,642],"Low table","Storage","Desk","Storage furniture",[646],[2223],"Furniture maker",[2205],-37.766686,144.986651,"Northcote, Australia",{"_664":2225,"_665":2226},2927,{"_597":2231,"_31":2232,"_600":2233,"_241":2237,"_327":2238,"_607":2239,"_609":2240,"_612":2241,"_616":2242,"_623":2243,"_630":2249,"_633":2250,"_643":38,"_644":2251,"_647":2252,"_650":2253,"_652":2254,"_654":2255,"_656":657,"_658":2256,"_660":1996,"_662":2257,"_666":2258},"profile-4305",4305,[2234,2235,2236],"https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001UXB4A2-center.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001UX74AM-left1.jpg","https://hfgnext.s3.eu-west-3.amazonaws.com/img/4YLTG0000001UXA4A2-right2.jpg","Clare Belfrage","clare-belfrage-rnpgve","Clare Belfrage was introduced to glass while studying for a ceramic design degree. “I was absolutely fascinated and absorbed with the process,” she recalls. Clare decided to specialise in glass after connecting with a community of makers in Melbourne, whose conferences and events demonstrated what a career in craft could be like. Glass masters Nick Wirdnam and Nick Mount helped develop her skills. She honed the technique of cane drawing, which enabled her to create sinewy patterns that melded into the glass vessel. Clare moved to Adelaide to train at the JamFactory Glass Studio where she continues to blow glass today, alongside working from her home studio. Her work is inspired by the intricate structures in nature such as moss and lichen. 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