Commonplace | 2018-19

Hand built white raku & slip cast porcelain

(Solo exhibition, Toowoomba Regional Art Gallery, January 2019.)

Commonplace explores a synthesis between sculptural and functional ceramics. With traditional, domestic forms as a starting point, each object is made or installed to disrupt a sense of functionality. This body of work is designed to bounce between two sectors and discuss the dichotomy between 'art' and 'craft'.  Through informal techniques each clay object is made to be about things as well as for things, placing a focus on facility and concept driven work.

Continuing the intersection between clay and art object, alternative plinth forms referencing everyday furniture are used to display the ceramics. Modelled from the artist's living space, the plinths are reminiscent of domestic design, yet remain a device for presenting objects as sculpture and bringing them into public view. Together, the ceramics and plinths create abstract still-life installations that slip between gallery and domestic space.

(photography: Theresa Hall & Grace Yu)

Housebound | 2018

Hand built white raku & slip cast porcelain

Housebound is my first exploration into the making and merging of functional and sculptural ceramic objects as a single body of work.  

Each functional vessel serves as an alternative to the homogeneity of machine made wares, as they record movement and intention of process through their irregular forms and gestural decoration. The sculptural pieces are an extension of these wares. Each sculpture disrupts conventional ideas of the 'the vessel', at once reminiscent of domestic forms yet without complete functionality. By positioning  these traditionally opposing forms side by side, the dichotomy between 'fine art' and 'craft' is analysed.

(photography: Theresa Hall)

Mid-funk | 2017

Slip cast porcelain

Mid-funk discusses ceramics as a depiction of human process and tactility over perfection and traditional finish.

Taking motifs from sculptural body of work, Newly Formed, this collection uses irregular vessels as canvases to explore decorative processes and intuitive making. Abstract, loose and gestural marks work to compliment irregular forms, creating ceramics that instill traditionally inanimate objects with personality.

(photography: Grace Yu)

Newly Formed | 2017

Hand built white raku

(Solo exhibition, First Coat Studios (Main Gallery), August 2017.)

Newly Formed is an experimental body of work discussing hand built clay objects and the experience of their immediacy.

With an emphasis on spontaneity and human gesture in the creative process, Newly Formed develops on ideas apparent in earlier collections, but takes a break from the methodical process of slip casting home wares, to instead explore new creative perimeters.   

I aim to show presence in the work and loosen ideals of perfection; exploring the dichotomy between 'the handmade' and 'the mass produced'.  Through functionless vessels, surface investigations, decorative processes and intuitive making, the material allows for sculptural qualities, which inherit gesture and connection to the maker. This body of work offers an insight into process and materiality — and in turn, a sense of character and authenticity.

Works featured in Newly Formed share familiar qualities — some taking elements from household items, while others are shaped with intrinsic figurative qualities.  Each piece is reminiscent of functionality, yet the material is stripped from traditional aesthetics and practicality.  By removing the traditional presentation of the works, I position them as both sculptural and functional, whilst disrupting existing and common ideas of 'the vessel'.

(photography: Grace Yu & Kirsty Lee)

Kit’s Place | 2016

Slip cast porcelain

(Solo exhibition, University of Southern Queensland, Red Door Project Gallery, August 2016.)

When making functional work, my art practice is focused on ceramic wares made to emphasise the handmade as a counterpoint to traditional expectations of table ware - uniform, symmetrical, unblemished, machine quality vessels. In turn, these ceramic wares are created as an alternative to mass produced, machine made ceramics. 

Kit's Place is primarily designed to reveal imperfections made by the hand, in irregular, organic forms. This is done to further emphasise an overarching and recurring idea that unlike machine made ceramics, handmade objects contain a sense of human character and endeavour. To discuss this idea, each vessel is inspired by my late grandmother, Kathleen. Memories, shared stories and personal possessions once belonging to Kathleen have informed both design and decoration. Her English Colclough tea set and her favourite colour, "mauve not purple", have been seminal to the development of this work. To further these concepts, domestic furniture from and referencing Kathleen’s home were installed in the gallery to display the ceramics. To explore boundaries between ‘art object’ and functional ware, as well as domestic and gallery space, visitors were invited to eat from and sit amongst the work.

(photography: Grace Yu)

Pilot Series | 2015

Slip cast porcelain

Peta Berghofer, Pilot Series, slipcast porcelain, 2015.jpg


Including beakers, bowls, plates, vases and lampshades, Pilot Series became my first exploration into ceramic wares as an alternative to the machine made and mass produced.

These pieces became my first study into the ceramic slip casting method, using Australian porcelain and coloured stains. Pilot Series developed an interest in creating ceramics that were sympathetic to concepts of home, personal memories, identity, meal times and family rituals.

(photograph: USQ Photography )