Everything

RINA BERNABEI has been working in industrial design for the past 30 years. She has brought her love of earthy, clean aesthetics to clay. Her work encapsulates her years of practice as a product designer as well as the relationships between handmade craft practices and digital technologies and manufacture. In 2018 Rina completed a traditional throwing course in Kyoto with a master ceramicist and in 2020 was asked to set up the 3D digital ceramic studio at Kyushu University in Fukuoka. Working within the Architecture and Design Faculty she ran workshops with students and with local craftsmen and ceramic studios. 

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RINA BERNABEI has been working in industrial design for the past 30 years. She has brought her love of earthy, clean aesthetics to clay. Her work encapsulates her years of practice as a product designer as well as the relationships between handmade craft practices and digital technologies and manufacture. In 2018 Rina completed a traditional throwing course in Kyoto with a master ceramicist and in 2020 was asked to set up the 3D digital ceramic studio at Kyushu University in Fukuoka. Working within the Architecture and Design Faculty she ran workshops with students and with local craftsmen and ceramic studios. 

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RINA BERNABEI has been working in industrial design for the past 30 years. She has brought her love of earthy, clean aesthetics to clay. Her work encapsulates her years of practice as a product designer as well as the relationships between handmade craft practices and digital technologies and manufacture. In 2018 Rina completed a traditional throwing course in Kyoto with a master ceramicist and in 2020 was asked to set up the 3D digital ceramic studio at Kyushu University in Fukuoka. Working within the Architecture and Design Faculty she ran workshops with students and with local craftsmen and ceramic studios. 

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RINA BERNABEI has been working in industrial design for the past 30 years. She has brought her love of earthy, clean aesthetics to clay. Her work encapsulates her years of practice as a product designer as well as the relationships between handmade craft practices and digital technologies and manufacture. In 2018 Rina completed a traditional throwing course in Kyoto with a master ceramicist and in 2020 was asked to set up the 3D digital ceramic studio at Kyushu University in Fukuoka. Working within the Architecture and Design Faculty she ran workshops with students and with local craftsmen and ceramic studios. 

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RINA BERNABEI has been working in industrial design for the past 30 years. She has brought her love of earthy, clean aesthetics to clay. Her work encapsulates her years of practice as a product designer as well as the relationships between handmade craft practices and digital technologies and manufacture. In 2018 Rina completed a traditional throwing course in Kyoto with a master ceramicist and in 2020 was asked to set up the 3D digital ceramic studio at Kyushu University in Fukuoka. Working within the Architecture and Design Faculty she ran workshops with students and with local craftsmen and ceramic studios. 

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RINA BERNABEI has been working in industrial design for the past 30 years. She has brought her love of earthy, clean aesthetics to clay. Her work encapsulates her years of practice as a product designer as well as the relationships between handmade craft practices and digital technologies and manufacture. In 2018 Rina completed a traditional throwing course in Kyoto with a master ceramicist and in 2020 was asked to set up the 3D digital ceramic studio at Kyushu University in Fukuoka. Working within the Architecture and Design Faculty she ran workshops with students and with local craftsmen and ceramic studios. 

VIEW ALL WORKS FROM THIS ARTIST

RINA BERNABEI has been working in industrial design for the past 30 years. She has brought her love of earthy, clean aesthetics to clay. Her work encapsulates her years of practice as a product designer as well as the relationships between handmade craft practices and digital technologies and manufacture. In 2018 Rina completed a traditional throwing course in Kyoto with a master ceramicist and in 2020 was asked to set up the 3D digital ceramic studio at Kyushu University in Fukuoka. Working within the Architecture and Design Faculty she ran workshops with students and with local craftsmen and ceramic studios. 

VIEW ALL WORKS FROM THIS ARTIST

RINA BERNABEI has been working in industrial design for the past 30 years. She has brought her love of earthy, clean aesthetics to clay. Her work encapsulates her years of practice as a product designer as well as the relationships between handmade craft practices and digital technologies and manufacture. In 2018 Rina completed a traditional throwing course in Kyoto with a master ceramicist and in 2020 was asked to set up the 3D digital ceramic studio at Kyushu University in Fukuoka. Working within the Architecture and Design Faculty she ran workshops with students and with local craftsmen and ceramic studios. 

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TATTS’ interest in new materialist theories informs the technique of assembling multiple porcelain tesserae or cut and refined ceramic tiles. The physicality of individual assemblage of tesserae creates abstract forms of balance and precarity, layers, stacks, pattern and negative spaces.

Using hyper focusing as a perceptive and making strategy, concentrating on the individual tesserae tile, Tatts considers their relationship and action with other objects and the surrounding environment. In late childhood Tatts was diagnosed with apophenia, a condition where the brain has the inclination to perceive patterns and connection in everyday object. Tatts has continued to develop not only technique but the action of evoking story and kinship between medium, artist and viewer.

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TATTS’ interest in new materialist theories informs the technique of assembling multiple porcelain tesserae or cut and refined ceramic tiles. The physicality of individual assemblage of tesserae creates abstract forms of balance and precarity, layers, stacks, pattern and negative spaces.

Using hyper focusing as a perceptive and making strategy, concentrating on the individual tesserae tile, Tatts considers their relationship and action with other objects and the surrounding environment. In late childhood Tatts was diagnosed with apophenia, a condition where the brain has the inclination to perceive patterns and connection in everyday object. Tatts has continued to develop not only technique but the action of evoking story and kinship between medium, artist and viewer.

VIEW ALL WORKS FROM THIS ARTIST 

TATTS’ interest in new materialist theories informs the technique of assembling multiple porcelain tesserae or cut and refined ceramic tiles. The physicality of individual assemblage of tesserae creates abstract forms of balance and precarity, layers, stacks, pattern and negative spaces.

Using hyper focusing as a perceptive and making strategy, concentrating on the individual tesserae tile, Tatts considers their relationship and action with other objects and the surrounding environment. In late childhood Tatts was diagnosed with apophenia, a condition where the brain has the inclination to perceive patterns and connection in everyday object. Tatts has continued to develop not only technique but the action of evoking story and kinship between medium, artist and viewer.

VIEW ALL WORKS FROM THIS ARTIST 

TATTS’ interest in new materialist theories informs the technique of assembling multiple porcelain tesserae or cut and refined ceramic tiles. The physicality of individual assemblage of tesserae creates abstract forms of balance and precarity, layers, stacks, pattern and negative spaces.

Using hyper focusing as a perceptive and making strategy, concentrating on the individual tesserae tile, Tatts considers their relationship and action with other objects and the surrounding environment. In late childhood Tatts was diagnosed with apophenia, a condition where the brain has the inclination to perceive patterns and connection in everyday object. Tatts has continued to develop not only technique but the action of evoking story and kinship between medium, artist and viewer.

VIEW ALL WORKS FROM THIS ARTIST 

TATTS’ interest in new materialist theories informs the technique of assembling multiple porcelain tesserae or cut and refined ceramic tiles. The physicality of individual assemblage of tesserae creates abstract forms of balance and precarity, layers, stacks, pattern and negative spaces.

Using hyper focusing as a perceptive and making strategy, concentrating on the individual tesserae tile, Tatts considers their relationship and action with other objects and the surrounding environment. In late childhood Tatts was diagnosed with apophenia, a condition where the brain has the inclination to perceive patterns and connection in everyday object. Tatts has continued to develop not only technique but the action of evoking story and kinship between medium, artist and viewer.

VIEW ALL WORKS FROM THIS ARTIST 

TATTS’ interest in new materialist theories informs the technique of assembling multiple porcelain tesserae or cut and refined ceramic tiles. The physicality of individual assemblage of tesserae creates abstract forms of balance and precarity, layers, stacks, pattern and negative spaces.

Using hyper focusing as a perceptive and making strategy, concentrating on the individual tesserae tile, Tatts considers their relationship and action with other objects and the surrounding environment. In late childhood Tatts was diagnosed with apophenia, a condition where the brain has the inclination to perceive patterns and connection in everyday object. Tatts has continued to develop not only technique but the action of evoking story and kinship between medium, artist and viewer.

VIEW ALL WORKS FROM THIS ARTIST 

TATTS’ interest in new materialist theories informs the technique of assembling multiple porcelain tesserae or cut and refined ceramic tiles. The physicality of individual assemblage of tesserae creates abstract forms of balance and precarity, layers, stacks, pattern and negative spaces.

Using hyper focusing as a perceptive and making strategy, concentrating on the individual tesserae tile, Tatts considers their relationship and action with other objects and the surrounding environment. In late childhood Tatts was diagnosed with apophenia, a condition where the brain has the inclination to perceive patterns and connection in everyday object. Tatts has continued to develop not only technique but the action of evoking story and kinship between medium, artist and viewer.

VIEW ALL WORKS FROM THIS ARTIST 

TATTS’ interest in new materialist theories informs the technique of assembling multiple porcelain tesserae or cut and refined ceramic tiles. The physicality of individual assemblage of tesserae creates abstract forms of balance and precarity, layers, stacks, pattern and negative spaces.

Using hyper focusing as a perceptive and making strategy, concentrating on the individual tesserae tile, Tatts considers their relationship and action with other objects and the surrounding environment. In late childhood Tatts was diagnosed with apophenia, a condition where the brain has the inclination to perceive patterns and connection in everyday object. Tatts has continued to develop not only technique but the action of evoking story and kinship between medium, artist and viewer.

VIEW ALL WORKS FROM THIS ARTIST 

TATTS’ interest in new materialist theories informs the technique of assembling multiple porcelain tesserae or cut and refined ceramic tiles. The physicality of individual assemblage of tesserae creates abstract forms of balance and precarity, layers, stacks, pattern and negative spaces.

Using hyper focusing as a perceptive and making strategy, concentrating on the individual tesserae tile, Tatts considers their relationship and action with other objects and the surrounding environment. In late childhood Tatts was diagnosed with apophenia, a condition where the brain has the inclination to perceive patterns and connection in everyday object. Tatts has continued to develop not only technique but the action of evoking story and kinship between medium, artist and viewer.

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SHARON ALPREN is a Melbourne based ceramic artist working out of her home studio in the Macedon Ranges. Sharon took up ceramics 15 years ago after relocating to Australia from her native UK where she had a background in Textiles.

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After working in music, advertising and law, KELLY BROWN became a ceramic artist.

Working in Sydney at Kil.n.it, she specialises in crafting timeless pieces inspired by ancient forms, huge urns being her favourite. Collaborating with interior designers, her creations bring sophistication and a touch of history to living spaces. Through unique partnerships with painters, she breaks traditional boundaries, creating captivating expressions.

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After working in music, advertising and law, KELLY BROWN became a ceramic artist.

Working in Sydney at Kil.n.it, she specialises in crafting timeless pieces inspired by ancient forms, huge urns being her favourite. Collaborating with interior designers, her creations bring sophistication and a touch of history to living spaces. Through unique partnerships with painters, she breaks traditional boundaries, creating captivating expressions.

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After working in music, advertising and law, KELLY BROWN became a ceramic artist.

Working in Sydney at Kil.n.it, she specialises in crafting timeless pieces inspired by ancient forms, huge urns being her favourite. Collaborating with interior designers, her creations bring sophistication and a touch of history to living spaces. Through unique partnerships with painters, she breaks traditional boundaries, creating captivating expressions.

VIEW ALL WORKS FROM THIS ARTIST

After working in music, advertising and law, KELLY BROWN became a ceramic artist.

Working in Sydney at Kil.n.it, she specialises in crafting timeless pieces inspired by ancient forms, huge urns being her favourite. Collaborating with interior designers, her creations bring sophistication and a touch of history to living spaces. Through unique partnerships with painters, she breaks traditional boundaries, creating captivating expressions.

VIEW ALL WORKS FROM THIS ARTIST

After working in music, advertising and law, KELLY BROWN became a ceramic artist.

Working in Sydney at Kil.n.it, she specialises in crafting timeless pieces inspired by ancient forms, huge urns being her favourite. Collaborating with interior designers, her creations bring sophistication and a touch of history to living spaces. Through unique partnerships with painters, she breaks traditional boundaries, creating captivating expressions.

VIEW ALL WORKS FROM THIS ARTIST

After working in music, advertising and law, KELLY BROWN became a ceramic artist.

Working in Sydney at Kil.n.it, she specialises in crafting timeless pieces inspired by ancient forms, huge urns being her favourite. Collaborating with interior designers, her creations bring sophistication and a touch of history to living spaces. Through unique partnerships with painters, she breaks traditional boundaries, creating captivating expressions.

VIEW ALL WORKS FROM THIS ARTIST