Tanika Jellis (b.1994) currently living and working in Noosa, Queensland, is a ceramicist whose vessels, tables and forms ask their audience to pause and reflect. To find solace in their undulations, curves and organic silhouettes. There is a satisfaction in the way each piece gently alludes to a function which is balanced with the reassurance of their resolutely sculptural identity. Practicing for over a decade, Jellis began exhibiting her work in various group shows, awakening their potential to be made for exhibition.

Jellis’ stoneware practice draws upon coiling and slab techniques, informed by years of making and artists residency at Shiro Oni, Japan. Each piece holds considerations of how it will be used, where it may sit and the interaction between the everyday objects of one’s home.

Side tables, vases, lights, planters, floor lamps, tea bowls, plates and drinking vessels are all forms in which Tanika’s practice manifests. The natural world, architecture, object design and Tanika’s background in floristry lend themselves to the primordial phases of shaping the ceramics.

“I begin with concepts and ideas for the forms but at a certain point I just surrender to the will of the clay” - Tanika Jellis

"Cherish" offers an overview of Edward Woodley’s works from 2018 to 2024. The exhibition explores his use of signage and typography, employing various mechanical processes to create high-gloss text on salvaged metallic and machined sheeting. This process, which involves distorting the material, reveals its inherent vitality and transforms rigid surfaces into dynamic symbols of light.

Woodley’s work is also inspired by disruptive pattern material, pre-war Bauhaus design, and punk aesthetics. By repurposing salvaged materials, he examines the tension between personal autonomy and centralized control. His approach synthesizes signage, typography, and functional objects to probe themes of self-governance.

In his recent series, Woodley combines ideological symbols with brand logos and icons to explore familiarity versus displacement. Using salvaged steel and brass, he creates pieces that form an armored platform for hand-painted enamel symbols and broken text, inviting viewers to navigate the psychogeography of his works.

His latest pieces incorporate repurposed industrial materials and signage, reflecting on the iconography of public spaces and control. Woodley, based in Sydney, Australia, continues to challenge perceptions of control and autonomy through his evolving artistic practice.