This series of vessels is now available in-store @craftvictoria Achieving vibrant copper pinks in an electric kiln has been a precise process, finessing the ingredients and firing in order to obtain the right level of ‘local reduction’ in an oxidation atmosphere. These forms have also been finished with varying amounts of eucalyptus ash, adding an additional layer of depth and texture.
Some new bleach vessels available this weekend at Ballarat Craft + Design Week.
You’ll find them alongside a selection of local makers in the ‘Exit Shop’, located at the back of the Mining Exchange — open this weekend and next. A curated pop-up by @ballaratclaycollective for @creativecityballarat
I’ll be in the shop this afternoon, so feel free to drop by and say hi 👋
I have some new works available as part of Ballarat Craft & Design Week. You can find them alongside other talented makers in the ‘Exit Retail’ shop at the Mining Exchange across two weekends: May 2–3 and 9–10. Curated by the lovely team at @ballaratclaycollective for @creativecityballarat
Ash Line is an installation of ten hand-carved, functional wall vessels.
The work explores deterioration as both process and surface language. Wood and leaf ash are used not to darken, but to lighten to surface—bleaching the black iron glaze beneath. Each vessel echoes this principle of removal: beginning whole as a square form, then carved back and altered, with the subtraction of material revealing new details and marks within the clay.
DONE/UNDONE
Curated by @joseph_gardner
On now at @craftvictoria until 7 February
Photographer: @piercarthew
My work Ash Line is now on show at ‘DONE/UNDONE’ curated by @joseph_gardner for @craftvictoria
So grateful to be included in this exhibition. To be part of such an impressive curated selection, alongside so many makers and craftspeople I admire is really humbling.
DONE/UNDONE explores the creative process as a space of constant negotiation — a series of decisions to build, erase, repeat, or let be. It’s about that intuitive moment when a maker chooses to pause, to push further, or to dismantle entirely. These are the choices that define the rhythm of making — choices familiar to artists, designers, and creators across disciplines.
Beautiful images captured by @piercarthew
DONE/UNDONE Curated by Joseph Gardner
On now at Craft until 7 February.
Trio of stem vases - slab built, hand carved and wood fired for 72hours. These three vessels form a small part of my Onishi Landscape series, created during a 6 week woodfiring residency with @shirooniresidency
This first piece is one of my favourites from the collection. It was one of the last works I made, and it feels like something I’ll continue to develop moving forward. I love the balance here between function and sculpture, with the flat surface acting like a canvas, holding the texture of the materials and the marks of the wood firing.
Yōhen Tea Cups (Onishi Stone Series), Clay, Glaze, Slip, Ash, 2025
This series of tea cups is an exploration of materials, referencing Onishi’s long history of stonework and quarrying. Each cup was wheel-thrown and then hand-faceted to echo the craftsmanship and sculpted stone forms found throughout the town. The surfaces highlight the unpredictable traces of woodfiring, with different clays and glazes creating a wide range of variations.
Snippets from a 72-hour anagama firing during the @shirooniresidency
We began by blessing the kiln with flowers, water, rice, salt, and sake, before settling into rotating shifts to build the temperature through the day and night.
So grateful to have shared the experience with such a beautiful group of people from around the world ❤️
