The lovely ceramics of Katherine Mahoney and her group of functional porcelain and stoneware ceramic ware, ‘Flora Impressions’ created in her studio at home, at the bottom of the garden. Bowls, platters and vases are thrown and then impressed using materials gathered directly from the Botanical gardens, and glazes created to reflect the palette of a watercolourist. The ceramics are “inspired by the beautiful native seedpods and leaves that are bountiful in Australia”.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Harriet Schwarzrock’s studio where she created work for Artisans in the Gardens using tinted blown glass and stainless steel. The sculptural glass blown forms, vases and tumblers, “speak of organic growth and transpiration cycles”, predominantly organically inspired “I am often drawn to the delicious form of the spiral”, “and seek to express a rhythm and cadence between individual, yet sympathetic forms”.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bev Hogg’s studio a converted garage, overlooking her front and back garden, created a collaborative work with Marianne Courtney, ‘Groundwork 1’. Using assembled cut and stacked eucalyptus sticks, taking essential elements of garden or bush land “and translating them into a semi-ritualistic meditative work that speaks of growth, wholeness, and also vulnerability.” The outdoor sculpture will weather over time reflecting the “natural cycles of birth, ageing, change and decay”.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Marguerite Derricourt’s studio where she created  ‘Travelling Light 11’ using moulded Japanese papers. These sculptural wall pieces of moths, in particular the migratory patterns of Bogong moths, are made from moulded Japanese papers and laser cut powder-coated steel. The works speak of the moth’s nocturnal habits and self-destructive behaviour, a poetic and symbolic universal theme within

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Jan Howlin’s studio where she has created the work ‘Family Tree’ using ceramic, glazes and underglaze. “As a maker of sculptural works, I try to create forms that embody meaning; objects that suggest ideas”, “I am drawn to universal issues such as human relationships, foibles and experiences along with sustainability, the natural environment and the contemporary world”.