A selection of works from recent exhibitions 2010 to present, focused on materials and environment.

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FOR GARDENING. 2018.

For Gardening - an exhibition of thoughtfully crafted tools and accessories for gardening.

For Gardening is an exhibition of thoughtfully crafted tools and accessories for use when gardening indoors or out. Designed and created by a stellar group of Australian designers and gardening enthusiasts.

Emphasis has been placed on carefully crafted, handmade works, mindful of environmental impact. Each designer is closely involved in the making of their objects. All items are made to order, shifting away from creating objects en masse and towards fulfilling needs as they arise, even for larger audiences. This made-to-order model - where the number of items created is only what is necessary, and is limited to the need - is a model at odds with that of industrialised process which tends to make as many things as possible in the hope that they will be consumed. The For Gardening products are priced to reflect their real value; the time, skill, care and cleverness that has gone into the making of each thing. It’s hoped this approach to valuing objects makes purchasing the product a considered process that in turn encourages a fuller appreciation of the object and its use.


INSIDE. OUTSIDE. UPSIDEDOWN. 2018.

As our planet heads towards a population of 9 billion people by 2050, tripling over the last 50 years, we consider the spaces we inhabit and what we need in our lives. These pieces are designed to be used inside, outside and upside down. Twice as useful.

All works are made from local Australian clay, and created in a direct process from earth to form expressing the natural qualities of the material.

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PLASTICITY. 2018.

An exhibition curated by Studio Edwards, bringing together leading creatives from art and design practices, furniture & product design. The alt. material collective exhibition 'Plasticity' reflects on both the material & its latent properties.

Process of the design:

‘I hand formed an original piece in clay and once it was fired to ceramic, we scanned it and 3D printed a version in bioplastic. We experimented with different material prototypes and found that the wood filament captured the earthy and tactile qualities required for this work.’

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CERAMIC REVISIONS II. 2017.

A group exhibition at May Space, Sydney. Ceramics Revisions II conveys how artists interact, form narratives, voice opinions and create aesthetic compositions with this medium today.


RAINBOW'S END. 2017.

Curated by Heath Killen and presented by Hotel Hotel, Rainbow’s End is a museum exhibit from the future, which showcases objects and artefacts from a possible tomorrow.

Pushme-Pullyou Ceremonial Bowl

By 2060, the population has hit 10 billion, the sea levels have risen and space has become a valuable commodity. People had become resourceful and adaptable. Civilization had hit ‘peak stuff’ earlier in the century, and people were now appreciating the really valuable things in life that supported survival.

This bowl is designed to be as adaptable and multi functional as possible, with a form of primitive simplicity and timelessness.

It is transportable, hard wearing, and can be used to pay tribute to what is placed inside it, such as food or water or plants.

It is designed be used in a pushme-pullyou twice as useful way.




FRIENDS & ASSOCIATES - 26 ORIGINAL FAKES. 2017.

26 ORIGINAL FAKES looks to the uncertified replica in contemporary Australian design practice to reconsider the value of the copy in both the creative & commercial markets. 

Friends & Associates in collaboration with The National Gallery of Victoria invited 25 contemporary Australian designers to reconfigure and exhibit an existing replica design as a way to deconstruct how the design object is valued.

Description of work: SAVED

'As a designer, I share a design approach with Jasper Morrison to ‘make something useful and responsible’. SAVED, hand made from a metre of felt (recyclable/repurposable and vegan) is designed to slip over a replica/copy chair and to be used like a money box to save for the original piece. SAVED can be used on an assortment of fake replica copies to cover the works and make them become useful. The money collected can be used to support the original designer and encourage further investment in original and ethical design work.'

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SWEET NATURE. 2016. 

An exhibition of ceramics at Annette Larkin Fine Art. 

An exhibition of ceramic works made from local Australian clay, and created in a direct process from earth to form expressing the natural qualities of the material, the pieces in the exhibition are designed as interior landscapes and mini eco-systems to nurture nature and support plants, people, birds, bees and butterflies.


AT HOME. 2016. 

At Home, curated by Australian design expert David Clark showcases objects from some of Australia’s leading contemporary designers alongside the National Trust's significant Georgian collection of furniture at Old Government House.

At Home celebrates what makes Australian design so unique. Spanning almost 200 years, the objects on display throughout the House invite you to consider where Australian interior design has come from and where it is going.

'The tactile experience of working with earth and the endless possibilities of transformation is a seductive and addictive experience.' Working directly with the raw material, Liane fashions these forms to reflect the natural qualities of the earth from which they are formed. These simple vessels, hand-formed in her Sydney studio, are designed to 'nurture nature - holding plants and flowers in a landscape that is a daily meditation on the importance of the natural world.'


SYDNEY DESIGN. 2016.

Sweet Nature for Sydney Design 2016  brought together designers, artists and creative collaborators whose work is inspired to nurture nature through considered creative practice, exploring a multitude of materials and approaches. The Sweet Nature exhibition during Sydney Design September 2 to 11 was a program for participants to explore and share perspectives of our surrounding environment.

Made from local Australian clay, and created in a direct process from earth to form expressing the natural qualities of the material, this work is designed as an interior landscape and mini eco-system to nurture nature and support plants, people, birds, bees and butterflies. A simple earthy contemplation and appreciation of the everyday gifts that nature delivers.


AT THE JUNCTION OF TWO RIVERS. 2016.

‘Sweet Nature. Wellington Landscape’ is inspired by the natural beauty of Wellington. From the mosses and lichens and pioneer plants that contribute to the ecosystem to the unique and diverse native vegetation that creates habitat, sustenance, serenity and beauty. The ceramic works are made from Australian clay and created in a direct process from earth to form expressing the natural qualities of the material. The work is designed as an interior landscape and mini eco-system that includes a collection of locally grown plants to reflect the surroundings.


HAPPYNESS. 2015.

An exhibition of ceramics at Lake Macquarie City Art Gallery.

A collection of ceramics that have been created to nurture nature. Made from local Australian clay and fired with help from the sun, they are designed to hug and value these pioneer plants that are often eradicated with herbicides that are carcinogenic for humans, wildlife and especially bees. A simple earthy contemplation and appreciation of the everyday gifts that nature delivers.


1-OK CLUB. 2015.

YOU ROCK series exhibited at the NGV as part of the 1-OK CLUB commissioned series of design works.

Pumice is a naturally formed volcanic rock produced when molten lava with a high gas and water content explodes out of a volcano. The pumice for the ‘You Rock’ series was carried by the ocean from The Kermadec Islands of New Zealand and delivered to Australia. ‘Let there be light’ and ‘Dishy’ were hand carved with a collection of local rocks in 2015. Included are a pair of organic beeswax candles by Northern Light. These works for 1-OK Club are part of the artist’s ongoing exploration of resourcefulness, natural and found materials and organic form.

 


SHELFIE. 2015.

Special exhibition for Art Month Sydney at Annette Larkin Fine Art.

Recent ceramic works and collaborations with artists Zan Wimberley and Louise Tuckwell.


REDFERN BIENNALE. 2014.

A group exhibition with Damien Minton Gallery which profiles the provoking and unintentional beauty in Redfern’s streets.

The work, 'For The Locals: Bird, Bee and Butterfly Bouquet' was designed to provide for and nurture the local pollinators. The series of works, nestled under a tree in the garden were made from paper clay, golden glitter and organic beeswax and were filled with attracting flowers, water and seeds.


ETERNITY. 2013.

A group exhibition at Damien Minton Gallery commemorating the iconic Sydney symbol Eternity.  

The word 'Eternity' was repeatedly written in chalk on the footpath by Sydney local Arthur Stace. The iconic and beautiful symbol was ephemeral. For this exhibition, a series of eight works was created from 'diamonds' on slate; materials that last forever, to express enduring symbols of eternity.

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INTERPRETATIONS IIII. 2013.

Works from stone at Object Gallery. ‘Interpretations is a biennial event where Sydney designers work together & share ideas'. Artists include Tasman Munro, Andrew Simpson, Guy Keulemans, Henry Wilson, Oliver Smith, Charles Wilson and Liane Rossler.


WAVERLEY WOOLARHA ARTS SCHOOL PALETTE SHOW. 2013.


To celebrate its 45th year as an arts learning centre, Waverley held the Grand Artist’s Palette show.


FIVE BELLS: A VISUAL ODE TO SYDNEY. 2012.

Inspired by Delia Falconer's re-examination of Slessor's seminal poem in her book 'Sydney', Damien Minton Gallery invited 40 artists to respond to the perennial discussion of what the city of Sydney IS, and what lies beneath.

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INTERPRETATIONS III. 2011.

Interpretations is a biennial event where Sydney designers work together and share ideas. With a particular theme or manufacturing process for each event, Interpretations 3 explores sand casting where designers cast their own moulds at a foundry and the results are exhibited here. This is an event by designers for designers which fosters creative collaboration’. Exhibited at Damien Minton Gallery, as part of Sydney Design, designers included were Andrew Simpson, Henry Wilson, Liane Rossler, Oliver Smith, Hugh Worthington, and Trent Jansen’.


ANACHRONISM, GARDENISM. 2011.

Anachronism, Gardenism, an exhibition curated by Bronia Iwanczak was staged in Sydney's Centennial Park. The project called for an artist book response to the parkland setting. 


SYDNEY STATUES PROJECT. 2010.

Headdress for Queen Victoria outside the QVB for Art & About Sydney, with Michelle McCosker & The Occasional Collective.

‘Re-awakening our statues for a contemporary audience. Inspired by the colourful art clothing scene of the 70s and 80s it brings textile artists and designers together spanning three decades of bold, flamboyant fashion to create clothing and accessories for eight statues in Sydney’s CBD. The costumes are rich with references not only to Australia’s most colourful era in fashion, but also to historical symbols around which we can learn more about the social, cultural and political history drawn from the stories of these statues’.


POP UP ALPHABET CO OP. 2010.

Exhibited at Object Space, the Pop Up Alphabet Co Op is a temporary type-o-centric shop/installation where every letter, number, word or phrase exhibited is available to own. Every piece included is a limited edition. The works are made by graphic, furniture, product and jewellery designers, craftspeople and artists from across Australia and Asia.

Read more on The Design Files, Lottie Loves, and Upon a Fold.


DESIGNER SUSHI. 2010.

Exhibited at Metalab Sydney, 'Designer Sushi', in collaboration with mmmh! Germany, showcases works developed by creative’s across a range of fields, including architects, designers, writers, bloggers and chefs. Each creative is provided a ‘sushi box’ composed of bits and bites found in everyday life. These objects are removed from their familiar environment and become the starting point for the design process –a hose clamp meets a plastic crocodile, a chocolate cigarette box comes together with a raku-fired brooch, and an old appliance plug suddenly appears in an entirely new light’.

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MAKE IT! CREATIVE INNOVATION AT THE POWERHOUSE MUSEUM. 2010. 

‘Launched by the Creative Industries Innovation Centre (CIIC), the MAKE IT! Project was designed to showcase Australia’s creative industries. By exhibiting a selection of the pieces at the Powerhouse Museum, Creative Innovation promotes the value and innovation of Australia’s creative industries to the community and our decision-makers’.