About the artists:

Roseanne Bartley

Roseanne Bartley is an artist-jeweller whose practice integrates narrative, social, and material processes. Her work positions jewellery as both method and medium, a doubling that foregrounds its relational ecology and its capacity to act as a dynamic agent of human communication. Through wearable artefacts, exhibition installations, participatory events, and collaborative formats, her practice creates situations for encounter, dialogue, and reflection. Recent projects engage the alphabet as material and structure, attuning to the ways glyphic forms are shaped through the gestures, constraints, and vernacular of jewellery. Through processes of forming and recontextualising, letters become objects that hover between reading and wearing, sensory and signification. Based in Naarm/Melbourne, Roseanne holds a practice-led PhD from the School of Architecture and Design at RMIT University (2018). She was awarded the Australia Council Barcelona Residency and has received funding from Australia Council for the Arts, Arts Victoria, Punctum, and Ian Potter Foundation. Her work is held in the collections of the National Gallery of Victoria, the Powerhouse Museum, and Toowoomba Regional Gallery. In 2025 her work An Alphabet of Rings: The Mulga Alphabet was highly commended in the Make Award Prize.

Sam Blomley and Gilda Jones

Sam Blomley and Gilda Jones’ collaborative practice spans moving image, design, and sculpture. Their work considers how movement can be embedded in material form, how objects might retain traces of gesture and the physical processes that shape them. Through the interplay of touch and materiality, objects accumulate evidence of engagement: the subtle wear, the impressions of handling, the ways materials age and hold memory. Their practice explores the ephemeral qualities of embodied experience, translating fleeting gestures of the body into forms that can be revisited. In this way, their work negotiates the tension between the temporal and the permanent, between movement as it occurs and the enduring presence of material.

The Stumpy Stools
This Collection is a contemporary reimagining of one of the most enduring and iconic pieces of furniture: the milking stool. Built from necessity, the original milking stool embodies the essence of design economy: three legs, a flat top and nothing more. It uses only what it needs to function, its stability derived from minimal means. This simplicity is what continues to make it timeless. Stumpy takes this humble archetype as a foundation and playfully reinterprets it for contemporary living. Materially, the stools honour both sustainability and history. The timber was sourced from Whelan the Wrecker, a name synonymous with Melbourne’s cycles of demolition and renewal throughout the twentieth century. Using reclaimed wood from these historic sites imbues each stool with a distinct character and patina, visible traces of the city’s architectural past. The cast recycled aluminium versions are produced from imprints of the original hand-turned timber stools.

Quarter Pipe Bench
The Fitzroy Bench is composed of a carefully divided length of 300mm diameter electric resistance welded line pipe. A single length of pipe can make a pair of these weighty benches. 

Melissa Cameron

Melissa is an Australian artist who works on Whadjuk Noongar land in Perth and has lived and worked in Naarm/Melbourne and on Duwamish lands in Seattle, USA. Her aesthetic sensibility is influenced by her early studies in computer science and her first career and BFA (hons) in interior architecture (Curtin University, 2001). She holds a Postgraduate Diploma in Jewellery Production (Curtin University, 2006) and a jewellery and metalsmithing MFA (Monash University, 2009).  Her practice alternates between meticulously researched socially aware / protest art, and technology / materials-based investigations. Her works are in many public collections, including the National Gallery of Australia, the University of Iowa Museum of Art, and Cheongju Collection in South Korea, and she has exhibited in the prestigious Schmuck exhibition in Munich. Cameron has received grants and prizes, presented at conferences, attended residencies, and published writings on jewellery and architecture globally. I have been making social conscious art, or protest art, for a while now. I moved to the USA in early 2012 and back again in late 2018, and my observations about the increasing lack of equality between its residents, citizens and victims of its foreign policy filtered into my work. When I arrived, I was already making narrative works – storytelling through jewellery and relatively small metal sculpture – but the narratives took a sharp turn. The lack of empathy I saw in the way people treated one another, and in the way the state treated its citizens–shockingly differently depending on their race and economic circumstances – emboldened me to use my practice as my megaphone. With the aim of facilitating an understanding and respect for the interconnected-ness of all humanity, I work to forge an intimate link through my work between the viewer and wearer of my pieces, and an external narrative. Lately, these narratives have centred on our vulnerability to climate change. Sharing stories through my jewels and objects opens my eyes to the meanings inherent in all our material culture. I recognize and respect that which is embedded in both used and new materials and rework them always with consideration for such intrinsic messages. I interleave my introduced patterns among these signs and symbols, so that each message, mine and those of the material, are enriched by the collaboration.

Katie Collins

Katie Collins is a maker of jewellery and objects based in Naarm/Melbourne. Katie’s work explores the activation of objects and their qualities of engagement, often integrated through movement. She has an interest in understanding the connections between people and objects, and how this generates sentimentality, support, meaning or provocation. This new series of rings is an interrogation of the ring as a symbol. The ring often stands to represent continuity and consistency; however, our relationships can be more complicated. This series explores alternative storylines of what the ring may symbolise through the alteration of the form of the circular ring band. Katie is a graduate of RMIT, completing bachelor honours degrees in Interior Design and Fine Art, specialising in Gold and Silversmithing. Her work has been selected for national and international exhibitions, including the Itami International Craft Exhibition in Japan, Mari Funaki Award Exhibition in Australia and Talente in Germany. She is a sessional lecturer at RMIT University.  In 2014, Katie exhibited her jewellery pieces at Galerie Marzee, in the Netherlands, where she received the Marzee International Graduate Prize. Her work is included in permanent collections in the Dallas Museum of Art and the NGV.

Debris Facility Pty Ltd

Debris Facility (them/all) is a Naarm-based, queer body corporate found-dead in 2015. As an artistic/corporate entity whose activities often parody and parasite processes of neoliberal identity construction and industrial commodification, they produce wearable works, installations, interventions, design and performances which respond to specific contexts and coworkers. They have extended their pedagogical work through contracts with Liquid Architecture and Victorian College of the Arts. They have exhibited and produced works in local, national and international contexts, in galleries, performance spaces, publications and others. Their work is held in numerous private collections and landfill. PlastiCorpus 1.0-2.6 was developed by Debris Facility Pty Ltd for the exhibition "This Hideous Replica" curated by Joel Stern and Sean Dockray at RMIT Gallery in 2024. The work deploys knock off replica modular "IQ Lamps" created by the Danish designer Holger Strøm in 1973, and proliferating through copies of the appropriated design. PlastiCorpus looks at plastics re- production as an expanse of noise and cancerous growth within economic and waste systems. Lighting systems are deployed as affect management tools and architectural adornments which critically reflect plastic as a queer materiality.

Eli Giannini

Eli Giannini is a Melbourne architect, practicing artist and art critic. She has promoted design, theory and research through her writing, exhibitions and conference presentations and as eminent architect of design competitions juries. Being an artist gives me an opportunity to explore a different territory to the one I’ve practiced in for over 30 years, architecture. The one constant is my continued exploration of typology through a deepening understanding of tradition in jewellery and object-based practice. Unlike my architecture practice, my art practice is an exploration of ideas through making with non-precious materials. The challenge I pose myself is the transformation of the ‘everyday’ into a meaningful object ready for the body to wear. These series of neckpieces and pendants celebrate the ‘string’ rather than the ‘pearl’. Made of translucent plastic beads (HAMA Beads) and Sashiko thread these works are inspired by archetypal bead necklace designs reinterpreted through the playful nature of the chosen materials: the multicoloured coloured thread, the toy beads and the upscaling and abstraction of the designs.

Peta Kruger

Peta Kruger is an artist working across contemporary textiles, public art and contemporary jewellery currently living on Kaurna land. Peta’s textile works highlight the issue of waste plastic and confront her growing eco-anxiety. The plastic used is entirely waste plastic (sourced from households, streets, parks and bins) that was otherwise destined for stormwater or landfill. Peta received her Masters by Research in Visual Arts from the University of South Australia in 2020. Recent exhibitions include: Transformative Repair, JamFactory, Adelaide, 2024; Hadley’s Art Prize, Hadley’s Hotel, Hobart, 2021; and Used, JamFactory, Adelaide, 2020. With the support of Lend lease and ASPECT Studios, Peta completed her first public art project in Steam Mill Lane in Sydney’s Darling Square precinct in 2018. In 2011 she received an Australia Council for the Arts Jump grant and funding from the Ian Potter Foundation to undertake a mentorship with German/New Zealand jeweller Karl Fritsch. Peta was a previous tenant of JamFactory, Adelaide (2011-2013) and an alumna of its Associate program in the Metal Design Studio (2009-2010).

Mascha Moje

Mascha Moje was born in Hamburg Germany. In 1984 she travelled to Australia to undertake training in gold and silversmithing at the Australian National University, Canberra Institute of the Arts, completing her studies in 1989.  She went on to teaching roles at RMIT University, ANU and Monash University. Moje has exhibited extensively in Australia, as well as exhibitions in Denmark, Holland, Belgium, New York, Germany, Austria, Japan and completed a 3-month residency in the Ceramic Centre Hertogenbosch, Holland. Her work is widely collected in both private and public collections including NGA, NGV, AGSA, Museum for Art and Design in New York, and several public collections in Germany. Mascha’s practice distils ideas of material memory, while employing the impeccable craft of the master maker across a broad range of materials. For more than two decades Mascha has predominantly worked within the field of Jewellery, her interest stemming from questions of how objects are worn and the interface of body and object. She employs a reductionist mode of making, fascinated with the language of the material and the essence of form. Mascha’s practice is not defined by material, craft or placement, but the careful consideration of given parameters, be they the interface of body and worn object or object in space. Mascha welcomes these challenges to expand on possible answers around closely investigated concepts.

Yongping Ren

Yongping Ren is a Melbourne-based artist and arts worker whose practice investigates how materials accumulate and preserve gestures, thoughts, and desires through time. Working with tensions between public and private, permanence and fragility, his work dissolves boundaries between the sacred and profane while centering marginalized forms of spatial intimacy, failure, and instability. These two selected ceramic works are part of Yongping’s exploration of personal desire and spiritual believes through Daoist and Buddhist studies.

Danni Schwaag

Danni Schwaag is a jewellery artist living and working in Bremen, Germany. Behind each group of works there is a story and intense research into colours and materials and their visual impact. Mother-of-pearl, enamel, galalith - an early form of plastic (1900-1930) - are dominant materials in her work. She also combines wood, copper, dried acrylic paint, porcelain, threads or found objects to create abstract and figurative compositions. After a traineeship as a goldsmith she studied Gemstone and Jewellery Design from 2004-2008 at the Fachhochschule Trier, University of Applied Arts, Idar-Oberstein, Germany and the Escola Massana, Barcelona, Spain. In 2013 her work was awarded with the Bremen advancement award for applied art for her series l’art pour l’art – an ironic view on the fine art scene. Recent exhibitions in 2025 include Kunst RAI Amsterdam, presented by Galerie Door, Amsterdam (NL); Modern Times, Galerie Door, Nijmwegen (NL); Modern Times, Munich Jewellery Week Galerie Door guest of Galerie Smudajescheck, Munich (DE) and in 2024 Faszination Schmuck, 7000 Jahre, Museum of applied Art Cologne (DE). Danni’s work for this exhibition is informed by her artist-in-residence at the Jakob Bengel Foundation and the Idar-Oberstein University of Applied Sciencestjat in 2024.

Audrey Tan

Audrey Tan is a multidisciplinary artist based in Naarm/Melbourne via Boorloo/Perth. She completed a Bachelor of Fine Art (Honours) at Monash University in 2014, and an Advanced Diploma of Jewellery and Object Design at Melbourne Polytechnic in 2018. Working across drawing, bricolage, jewellery and gardening, Audrey is interested in the entanglements that exist between people and objects - and how objects of adornment can act as absorbers of energy, as well as an archive of time, site and self. The work is (loosely): scrap led compositions, extremely composting, I am on the precipice of rot, rotten floral arrangements, making wishes, a note in my phone that only says “frozen spinach”, borborygmi, trying and trying and trying, holding hands under the moon. Thinking about: circus formalism and the outfits that clowns wear, maquettes - pavilions - monuments, sudden eruptions from under the ground, when flowers overtake the height of the fence, bauhaus, bookmarks, beehives, there’s a wasp in my house!  

Raewyn Walsh 

Raewyn Walsh is a Tāmaki Makaurau, Auckland based jeweller. She investigates the attachments humans have to physical things and ideas that surround collection, possession, ownership and function, and the subsequent associations these themes have with time and memory. Raewyn completed a Bachelor of Design (Honours) from Unitec in 2009. She studied at Unitec under the tutelage of Pauline Bern, Areta Wilkinson and Ilse-Marie Erl. She was the 2011 prize winner of the Objective Art Awards. She participated in the mentoring project HANDSHAKE set up by Peter Deckers, in HANDSHAKE 2, 2016 when Raewyn was mentored by Henriette Schuster and in HANDSHAKE 3, 2017. Raewyn has work held in the collections of The James Wallace Arts Trust and Tairawhiti Museum, Gisborne. Recent exhibitions include: in 2025, A Leaky Abstraction, Nelson Jewellery Week, and GOODNESS, Deutsche Meisterschule Für Mode, Sendlinger-Tor-Platz, Munich-Altstadt-Lehel, Germany and in 2024, Let’s play, Masterworks Gallery, Tāmaki Makaurau and Victory over Death, Stanley Street Gallery, Sydney.

Benjamin Woods

Benjamin Woods is an artist and researcher living in Naarm on unceded Wurundjeri Woi-wurrung Country. His sculpture and sound installation practice mutates and develops in the context of specific place-based research projects. Ben holds a BFA Honours (2007-10) and MFA (2012) from the Victorian College of the Arts; and a PhD from Monash University, Fine Art (2018-22). He is a Lecturer at Monash University Fine Art, and currently co-directs Run Artist Run, a studio residency space in Docklands. Ben is a member of the Climate Aware Creative Practice research group (CACP), and the Australasian Queer Research Network (AQuRN), and a member of the collective Tributaries (with Ying-Lan Dann, Saskia Schut, Geoff Robinson, Justine Walsh). For Alta Forma at MAF 2026, Woods is showing a series of ceramic flute sculptures shown alongside linear paper-pulp assemblages that describe sonic ideas. The works engage queer intimacies and continue Woods’s long-held obsession with the moment at which something becomes resonant. The works Woods is presenting hope for an ongoing becoming of material play and emotional entanglement through sound—imagining transformative potential through minor tonal relationships.

Elisa Zorraquin

Elisa Zorraquin is a jewellery artist from Argentina and PhD candidate at RMIT University, Melbourne, exploring contemporary jewellery through community engagement and sustainable practices. Her research, "Crafting Connections: How Emergent Material Practices in Jewellery Build Community," investigates how jewellery fosters dialogue and connection through playful, interactive designs for multiple wearers. With an industrial design background, Elisa challenges fragmented, disconnected modes of living, offering alternative landscapes of value. Her work has been exhibited internationally, including Munich, Buenos Aires, New York, and Melbourne. My work responds to impressions of my children, things I see, conversations with strangers, thoughts about value, movement, and the tide of change. I centre my practice on the poetics of the everyday, valuing repurposed materials and honouring overlooked offerings and ephemera that go unnoticed in our fast-paced world, yet act as quiet anchors of presence for those who pay attention. Through slow, meditative processes such as saw-piercing, I approach making as a way of being. These jewellery objects expand into liminal spaces, moving beyond traditional notions of what things should be, offering alternative landscapes of value.