Liam Bryan-Brown
Squares, cubes and grids are enduring forms in my practice, allowing me to explore mathematical or spatial contemplations through repetition and variation. I situate my work within a praxis of queer contemporary craft and the histories of minimalism. By creating complex forms and compositions that consider the relationships between tonal, geometric, and dimensional continuums, I subvert expectations of perfection through a dynamic tension that weighs structure and dynamism against balance and simplicity.
Nick Dorey
If global society were to cease today, the only legible traces of humanity that would endure are our monolithic stonework, our bronzes, and our pottery. Clay ranks among humanity’s most enduring materials, playing a crucial role in the mundane and sublime ritual structures that sustain our bonds to one another.
Just as certain materials strengthen under duress, some relationships are galvanised by heat and pressure while others rapidly disintegrate. This work presents a constellation of bonds—linkages that appear immediately strong and flexible, or seemingly fragile yet ultimately more enduring. Much like friendships, it is the material’s evolution in response to environmental conditions that determines the nature of the bond
Michael Shaw
Michael is an artist and educator on Quandamooka Country (Redlands QLD) working with ceramics, sculpture, print and jewellery making exploring the meaning of relationship. His relationship to the environment, the relationship between maker and user, between object and objectifier, between anticipation and resolution, and the interpersonal relationships that ebb and flow around his work in use or contemplation.
To connect the work to its place of making, Michael incorporates found clays, materials and glaze ingredients foraged from environments that hold meaning. He is interested in the potential of colour, form, and texture to stir memory and/ or desire in the viewer.
Bridie Gillman
Working in an expanded field of painting, my multidisciplinary practice spans painting, ceramics, textiles, and sound. In recent years, my painting and sculptural practice has become a meditative act of recalling experiences and memories of a place through abstraction of colour, shape, form. While each artwork is based on a specific observation, they are an emotional reaction rather than a representation of place.
The pieces in And Clay could be thought of as landscapes. They are based on experiences of moving through the landscape, of observations of the sky, and from the sky.
The sculptural pieces Burn and Crackle demonstrate my increasing interest in maintaining a material circularity in my studio practice – I never throw anything away – though I wish I would. This means making from the old and failed, using offcuts and studio detritus i.e. painting on patchworked offcut canvas. The sculptures have been reglazed and fired over and over, and are a fair way from their original vision years ago.
I approach clay through the eyes of a painter. I find glazed surfaces both incredibly alluring to stare into and overwhelming to understand – I have a lot to learn. The properties of a glazed surface that speak to, but are different from, my oil painted surfaces are what I’d to like to experiment with moving forward.
Courtesy of Edwina Corlette Gallery
Miguel Aquilizan
Miguel Aquilizan is intuitive in his inquiry, improvisational in his approach, and inventive in his use of diverse and novel materials. His assemblages have a mysterious, magical quality, with one foot in science fiction and the post-human, another in totemism and animism. Aquilizan relates his love of found materials back to the Philippines, where he was born. There, things are never thrown away, but endlessly repurposed and reanimated. He says, ‘I like obscuring and mutating what is familiar, making everything alien’.
Text courtesy of the Institute of Modern Art
Tyza Hart
Tyza Hart’s practice spans ceramics, sculpture, painting, video, installation, and poetry, bringing together self-portraiture and minimalist abstraction. Their work explores the complexities of embodiment, often foregrounding physical experience without relying on literal representation. Through an intuitive material language, Tyza’s forms gesture toward ways of being that resist fixed identities—evoking a sense of personhood that is at once intense and fragmented, expansive and elusive.
Tyza has exhibited widely across Australia, with solo exhibitions at institutions such as the Museum of Brisbane, Carpark, the Institute of Modern Art, and Wreckers Upstairs in Brisbane, as well as Firstdraft in Sydney and Gympie Regional Art Gallery. Their work has also featured in major group exhibitions at the Australian Centre for Contemporary Art, the Gallery of Modern Art, Incinerator Gallery, West Space, Griffith University Art Museum, UQ Art Museum, QUT Art Museum, Metro Arts, and OuterSpace. In Sydney, their work has been shown at the National Art School, Artspace, Carriageworks, and Verge Gallery.
Jordan Azcune
Jordan Azcune’s practice explores the tension between creation and destruction through elemental materials and transformative processes. Working with substances like beeswax and clay, he is drawn to their mutable states—shifting between liquid and solid—and uses heat and gesture to investigate the material and symbolic potential of change. His sculptural forms often merge the formal with the sensual, drawing connections between spirituality, sexuality, and atmosphere. These works articulate a delicate balance between body and environment, both shaped by and responsive to external forces such as temperature and space.
Azcune completed Honours in Fine Art at Queensland University of Technology in 2016, with a minor in architecture. He has since exhibited nationally in solo and group exhibitions, including Heat at Redcliffe Art Gallery (2022), Devil’s Ivy at Metro Arts (2021), and Post-Christian Camp at both Seventh Gallery, Melbourne and N.Smith Gallery, Sydney (2021). His work has been supported by major grants from the Australia Council, Arts Queensland, and the Brisbane Lord Mayor’s Fellowship, and he has participated in residencies across Australia, the USA, and India. In 2025, he will undertake a three-month residency at Cerámica Suro in Guadalajara, Mexico—his most significant international project to date.
Rachel King
Rachel King is a multidisciplinary artist working across painting, sculpture, and time-based media, with a practice grounded in observation, intuition, and a deep engagement with materiality. Her ceramic sculptures often play with the boundaries between form and narrative, balancing whimsy with quiet intensity. In this exhibition, Rachel presents, Maremma Pot (2025), (a collaborative work with Rosemary Mason) a matte white glazed vessel adorned with two dog forms at the neck; Herberus (2025), a two headed whippet rendered in glazed stoneware; and Chain (2024), an unglazed ceramic chain that speaks to ideas of connection, tension, and repetition. Each work invites a sense of curiosity and animacy, as familiar forms are reimagined with subtle surrealism.
With a background that spans design, coding, and research, Rachel brings an analytical yet playful approach to her art making. Her sculptural work often explores the relationship between animals, humans, and objects and reflects on companionship, loyalty, and myth. Drawing from classical motifs and personal symbolism, she creates pieces that are both sculptural and character driven, blending craftsmanship with storytelling. All three works in this exhibition offer insight into her evolving exploration of gesture, texture, and form in ceramic media.
