KAT CRAINE
Kat Craine is a designer and ceramicist studying at RMIT University. Growing up in the bush of the Yarra Valley, on Wurundjeri land, Craine’s work is heavily inspired by rock, clay and earth. Their practice has strong ties to craft and trades, Craine uses natural materials and experiment with processes. Her work often involves play, curiosity and physical touch as a way to employ the materials, also encouraging viewers to explore the materiality of the work alongside her.
Dusk on the Hume (2024) was developed through a repetitive process, combining previous photography and life drawing work. Transferring these works into clay became a meditative, and sensory process. The initial linear composition reflects Le Jeu de L'Écharpe by Agathon Léonard (1902) through texture and movement. Translating to ‘The Scarf Game’, Le Jeu de L'Écharpe depicts six porcelain figures in stages of a dance, each form has dense art nouveau textures and references the bohemian movement. The process began by replicating the poses of the six porcelain figures with a life model dancing. The photoshoot aimed to distort traditional life model poses and twist the body into nonconventional shapes to create further abstract forms. These limbs and muscles are reflected in Dusk on Hume. The opportunity for the audience to interact with the piece encourages Dusk on Hume to transform further. The work intends to invite curiosity and allow viewers to interact and involve more of their senses in the gallery space.
PAULINE ALONZO TORREJON
Mums (2025) is a series of sculptural vessels tied to the artist’s journey of recovering from three years of depression, letting go of unhealthy spiritual and cultural beliefs. Flower arranging with her mother became a source of strength, helping her rebuild routine, reconnect with loved ones, and rediscover her creative practice. In particular, she was drawn to chrysanthemums (or “mums” as they are often called) an easily accessible flower in the Philippines, commonly used in both celebration and mourning.
Pauline Alonzo Torrejon is a Filipino international student in her second year of Fine Art. She uses ceramics to process and express feelings on personal memory and familial relationships.
LARISSA ANNE LINNELL
The ceramic works To a Friend Going Blind refer to a story about two friends walking through an old walled city, one feeling the way along rock walls. She is a dressmaker and speaks to her friend about material pieces of a pattern that will be sewn together.
Drawing inspiration from patterns, and architectural structures, the ceramic works express reflections on the nature of memory, and how images and experiences are recalled, as perhaps only a trace, outline or incomplete rendition. This produces a reflection on physical environments, but also cultural environments and histories.
Larissa Anne Linnell’s past art projects include woodblock and drawing residencies in Nagasawa Art Park Awaji Island and 3331 Arts Centre Tokyo, Japan and Lutruwita (Tasmania), Australia. She has also developed works through community-led projects, focused on storytelling and reflection on women’s experiences of public institutions and public safety.
FELIX CHRISTIE
Felix Christie is a visual artist who works predominantly with ceramics, studying at RMIT University. Growing up queer through the shifting technological landscape of the early-mid 2000s, their work focuses on the significance of connection and community in physical and digital spaces throughout the formative years of their life. Experiences of grief play a significant role in Christie’s work as they process the impact loss has on identity and community through their work. While primarily working with ceramics, Christie’s background of work practice also encompasses illustration, printmaking and found object sculpture, with video art being their most recent medium of exploration.
HOME IS WHERE YOU ARE (2025) is a series of works that explores grief, community and memory. Featuring two ceramic pieces and a video installation, this series looks at the multifaceted nature of grief - the feelings of loss and emptiness, the fragmentation of memories over time, but most importantly, the love and community that endures after death.
WHERE (2025) explores the jumbling and shifting notion of memories through a collage-like, slab-built surface that employs different glazes, textures and overlapping designs. HOME (2025) is a ceramic still life reflecting on memories of a Brisbane share house. The work celebrates not only the house itself, through a careful selection of objects and glazes that evoke the appearance of rotting wood, but, more deeply, it honours the people tied to those memories who are no longer physically present.
ELLA FLINN
Ella Flinn is a ceramic artist from Lutruwita (Tasmania) studying at RMIT University. Her practice is guided by a fascination with forms that appeal to both sight and touch, crafting surfaces that are meant intended to be experienced physically as well as visually, evoking a sense of bodily engagement. Brains (2025) and Hearts (2025) are shaped through continuous handling and are moulded to the shape of her hands. Emerging from organic and bodily forms, these pieces feel both familiar and unplaceable, part-bone, part-rock, part-body. Ella Flinn is drawn to clay for its responsiveness, it remembers touch, compression, and gesture in a way that mirrors how the body holds memory. Each surface bears the trace of pressure, movement, and contact, becoming a kind of memory object, not just made, but imprinted, weathered, or worn.
Notable exhibitions include Beyond the Horizon (2023) at the Hue and Cry Gallery, Geelong, and PINK (2025) at Unassigned Gallery, Melbourne.
AMY PONTIFEX
Amy Pontifex is a Fine Art, Ceramics student at RMIT whose practice explores the relationship between memory, nostalgia, and the emotional resonance of objects. Her work examines how personal histories are embedded within material forms, utilising ceramics as a medium to reflect on the ways objects can hold and convey memory. Through delicate, often intimate pieces, Pontifex investigates the subtle traces that time and experience leave behind.
This body of work emerges from a personal exploration of memory and how past experiences become intertwined with everyday objects. Drawing on references from her childhood, such as a pink star-patterned cape and her mother's recipe notebook, Pontifex uses porcelain to reflect the fragility and impermanence of memory. Its delicate nature lends itself to themes of nostalgia, impression, and emotional trace. Porcelain Vessels (2025) and Recipe Tin (2025) investigate how objects can bear emotional weight and act as containers for personal history.
LILY SHEPHERD
Lily Shepherd is a visual artist and ceramicist studying at RMIT University. Her works are informed by memory, place, and personal experience.
Enrichment (2025) is inspired by Shepherd's experiences living in and travelling throughout Europe. These vessels are slightly uneven and rough, intentionally becoming part of the work's character and speaking to the impressionability of memories and the way in which we hold onto the past. The iron that seeps through from the clay body recognises and celebrates the history and geology of the ancient cultures it draws upon, with the blue glaze alluding to the cool hues, characteristic of traditional ceramics and iconography.
AISHA LJUBOVIC
Aisha Ljubovic is a Naarm (Melbourne)-based ceramics student, currently studying at RMIT. Her works focus mainly on taking aspects from family, culture and history and telling a narrative through contemporary forms.
Bloom Within (2025) is a work consisting of three vessels, varying in size with soil and moss emerging from within. This work represents reflects materials you may find in nature, raw clay with iron specks coming through, polished with a bright blue glaze, representing flowing water.
Ljubovic’s other arrangement of bowls, entitled Untitled (2025), is made with a similar red iron stoneware, a that is light brown in colour, matching the terracotta from Bloom Within. This work symbolises looks at domestic life, the varying sized bowls represent different family members, reflecting that individuality exists collectively.
This exhibition is curated by Jennifer Conroy-Smith.
Image: Pauline Alonzo Torrejon, Mums (1), 2025. Image courtesy of the artist.
