Three Trees
to Dec 15

Three Trees

 Cara Johnson,  creek , 2016. crack willow, iron, paper. Image Jeremy Dillon

Cara Johnson, creek, 2016. crack willow, iron, paper. Image Jeremy Dillon

Three Trees
13 November - 15 December 2018
Cara Johnson

One of the penalties of an ecological education is that one lives alone in a world of wounds.

- Aldo Leopold, A Sand County Almanac

Three Trees looks to narrate fraught and fragile human relationships to trees through material choices and making processes.

Willow, classed as a ‘Weed of National Significance’ has been harvested and carved to reflect and mourn past mistakes, that have caused irreconcilable damage. Agricultural debris and old plastic tree guards present a way to consider current conservation and regeneration efforts and the complexities of our impact on the environment.

The exhibition responds to three individual trees and, through highly involved making processes, seeks to heighten their importance.


Cara Johnson completed a Bachelor of Fine Art (First Class Honours) at RMIT University in 2016. She resides in the Otways in Victoria’s southwest, and is a PhD Candidate at RMIT where she is examining narratives of land management through a craft based practice.

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to Nov 10


 Cat Rabbit and Andrea Innocent,  TELEPHANT.  Image courtesy the artists

Cat Rabbit and Andrea Innocent, TELEPHANT. Image courtesy the artists

9 October - 10 November 2018
Cat Rabbit and Andrea Innocent

Cat Rabbit, known for her plush characters who inspire good feelings, and Andrea Innocent, known for her character design and emotive illustrations, have come together to create a series of ‘Everyday Anxieties Mascots’. Each mascot, supports a particular feeling/mood/anxiety produced by modern living and the human condition. Held in an (as yet) imaginary expo of mascots, these characters inhabit different realms of anxieties and function as a talisman to those who find the world overwhelming and confusing at times. Let’s face it, that's most of us.

Our various characters include the 'Telephant' mascot for those of us who feel fear and dread when the phone rings, when it feels like every ping of our device is another demand on our time and attention and is frankly draining our very life force. The ‘I’d rather be with my pets’ mascot for those of us who experience agoraphobia - maybe you have actually left the house to go to a social event and are at a party talking to someone you really don’t know and wishing they were as interesting as your sleeping cat but instead they are experts at boring chit chat. Juniper the King Parrot is also here to soothe the heart ache of existential angst and loneliness. No small feat but isn’t it nice to know he’s got your back at 2am when the world seems a relentless machine. There is no judgement here just lots of cuddles, hand holding and waving, they are all on your side.

The mascots will greet you at the entrance of Craft Victoria, in the snug vitrine space, acting as bouncers to bad feelings. They are the perfect size to sit on your shoulder and whisper in your ear ‘it’s gonna be ok’.

Cat Rabbit is a Melbourne based textile artist and designer. Cat shares a fluff-filled home studio with her cat, Porco. and makes plush sculptural works of her imagined characters and the worlds they might live in. Cat also make books for Children and other fantastical artworks with her collaborator Isobel Knowles under the name Soft Stories.

Andrea Innocent began illustrating professionally in 2006 and became a member of The Jacky Winter Group in Melbourne in 2007, since that time she has also given talks and workshops on all sorts of topics related to illustration and design, such as professional practice, drawing, marketing and character design.

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Memories of Landscape
to Oct 6

Memories of Landscape

 Jill Symes,  Heart of Gold,  2018  (View#1). Image courtesy the artist

Jill Symes, Heart of Gold, 2018  (View#1). Image courtesy the artist

Memories of Landscape
31 July - 1 September
Jill Symes

“Inspired by years of travel in the outback and coastal areas, my practice explores the forms of the Australian landscape.

Through the use of handcrafting methods I am able to feel the tactility and natural rhythm within the clay. When the finished form is dry, porcelain slips coloured with oxides and stains are painted onto the surface. The firing and final glazing reveals the layers of colour and movement in the work, achieving a tactile combination of soft lines, natural curves and a sense of immediacy.

Works from old to new are presented together as punctuated moments and “memories of landscape.”

Jill Symes is a Melbourne-based ceramic artist producing a continuously developing body of distinctive ceramic works which demonstrate developed handbuilding skills and a mature understanding of the exciting possibilities of earthenware clays and glazing techniques.

Symes has an intensive national and international presence spanning the past 30 years. Exhibitions include but are not limited to Women in the Whitehorse Art Collection 2018, Victorian Craft Award 2015, Big Ceramics 2014 (Craft sponsored exhibition in Federation Square), Moments in Time 2014 (Kerrie Lowe Gallery, Sydney), Fragments of Landscape (Kazari Collector, Melbourne 2010), Impressed, Contemporary Australian Ceramics (2006, New Delhi Pottery, India). Her work is in numerous public and private collections, Australia- wide and world-wide, and recent commissions include limited edition sculptures for the NGV Design Store.

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Small Victories
to Jul 28

Small Victories

 Kirsty Macafee,  Small Victories , 2018. Image courtesy the artist

Kirsty Macafee, Small Victories, 2018. Image courtesy the artist

Small Victories
26 June - 28 July

Kirsty Macafee

Through actions of tension and balance, Small Victories explores the relationship between contemporary women and ‘the glass ceiling.’

The hand spun thread used throughout the installation appropriates the words of contemporary women in positions of leadership. Once printed, the text is hand spun on a drop spindle to create a reformatted image thread. The thread negotiates perspex obstacles, necessarily bending to accommodate the barriers while gently testing the boundaries of a supportive exhibition space.

Kirsty Macafee lives and works in Melbourne. Her work is mostly sculptural and often engaged in themes of loss and abundance as she explores parallels between the way that images function in a digital networked culture and being. Kirsty’s practice is engaged in post-photographic and feminist maternal discourses. She draws on her multiple histories as crafter, mother and photographer and finds her practice at the intersection of these influences – seeking to reveal the invisible. Recently she has been selected as a finalist in the 2017 Contemporary Textile Award, the 2017 Victorian Craft Awards and was commissioned to make work for the Museum of Australian Democracy.

Kirsty graduated from RMIT with first class honours in 2016.

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Ancient Echoes... Future Visions
to Jun 23

Ancient Echoes... Future Visions

  Ancient Echoes...Future Visions , 2018. Image courtesy the artists

Ancient Echoes...Future Visions, 2018. Image courtesy the artists

Ancient Echoes...Future Visions
22 May - 23 June 2018
Alice Chalmers, Anica Costa and Fiona Fitzgerald

Memories from the past can be confronting, intriguing, awe inspiring, and act as a great catalyst for healing.

How we process and learn from them in this life can challenge and inspire us to forge something new.

Shaped by the generations and lives that came before, we often create in response to cycles of life, death and rebirth, from both the ancient and the expanse of unlimited possibility; our future visions.

Focusing on how the sun and moon have inspired ancient civilisations over eons as custodians of these cycles, this body of work is a modern representation of these primordial forces.

Influenced by astrology and other esoteric systems, Alice Chalmers’ contemplative approach to hand crafting jewellery imbues each piece with its own unique and tangible spirit. Originally having a background in illustration and watercolour, distilled line and symbology feature heavily, creating the sense of having captured something expansive.

“I am interested in how we invest meaning in objects, how we put a feeling into something we can touch. There is something alchemical in the process of making that lives on within the item. I make for those who might find resonance with some part of that magic.”


Traversing the infinite, Anica Costa’s work explores the intersection of the fantastical, the ancient and the far reaching futures. Her elegant and earthy pieces are the product of her affinity with the natural world.  Embracing past lives, the sun and moon speak to her through archaic echoes and future visions. Evoking the adornments of ancient civilisations and fantasy realms, her hand crafted creations aim to bring a sense of wonder and adventure.


Borne from past life memories and experiences gained as an energetic healer, Fiona Fitzgerald’s jewellery is symbolic of the exploration of once splintered facets.

Seeking to restore lightness and counterbalance the often solemn nature of healing, each piece represents a point in time, acceptance, making whole and way for the new.
In opposition to the sentimentality often associated with jewellery, Fiona’s work is created to respect passage and release.

“I’m interested in the elaborate, transformative and storytelling qualities of jewellery, it’s weight as an observer, companion and almost epibiont in the life of it’s wearer.”





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