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Rigg Design Prize 2025
Artwork Labels & Didactics

Print Labels

About Rigg Design Prize

The Rigg Design Prize is Australia’s highest accolade for contemporary design. Established in 1994 through the visionary bequest of Colin G. Rigg (1895–1982), the $40,000 prize champions design as an influential cultural practice and is awarded triennially to an Australian designer demonstrating outstanding creative achievement.

On the occasion of its tenth edition, the Rigg Design Prize honours Rigg’s legacy of generosity, which laid the foundation for this significant national award. Since its inception, the prize has provided a vital platform for visibility, recognition and public engagement with contemporary Australian design at the NGV.

Artwork Labels

Patrick Adeney designer and maker
Australia born 1992
Studio Adeney, Melbourne design studio
Australia est. 2022

Banana lounge
2025 Naarm/Melbourne
Tasmanian blackwood, Danish paper cord, leather, brass, steel, foam

Collection of the designer

‘I conceived Banana lounge as a contemporary reinvention of the classic Australian backyard lounge, building on established design principles developed through my current body of work. Through this piece, I hope to highlight an important connection between contemporary furniture in the public eye and its place in the family home – a symbiosis that is key to the preservation and celebration of both.

Limited to an edition of ten, the Banana lounge aspires to join a lineage of iconic Australian lounges, including Marc Newson’s 1980s Lockheed lounge and the Tessa T8 by Fred Lowen from the 1970s – the latter of which occupied pride of place in my grandparents’ lounge room.’ – Patrick Adeney


Kartika Laili Ahmad designer
Australia born 1993
Write Light Neon, Perth neon manufacturer
Australia est. 1992
Sheldon Potter polymethyl methacrylate fabricator
England born 1965, arrived Australia 1986
Benjamin Kontoullas neon fabricator
Australia born 1983

Affinity X
Recur I
Recur II
from the Affinity pendant light series
2025 Boorloo/Perth
polymethyl methacrylate, 316 stainless steel, argon, glass, aluminium, 7.5kv transformer

Collection of the designer

‘This series of neon pendant lights is an applied investigation into the emotive potential of form, materiality and light in synthesis. Adopting biomorphic shapes and contours that recall lungs, seed pods or underwater organisms, the Affinity series treats lighting as an opportunity for spatial and psychological experience. Inside the acrylic casing of these three pendants, blow-moulded polymethyl methacrylate (PMMA) cradles a neon core, the glow of which is muted and diffused. Unlike traditional neon lighting, which requires expertise to install, this modular design is ready to use, elevating neon out of a familiar industrial history and into a distinctly contemporary light source with rich sensorial potential.’ – Kartika Laili Ahmad


Ella Badu
Australia born 1990

Ase ama
2025 Naarm/Melbourne
brass, fish bones, glass, shea butter

Collection of the designer

‘Ase ama (pronounced ah-shey armour) reinterprets talismanic traditions within precolonial Ghana through a contemporary lens, exploring spirituality, queerness and resilience. Gathered fish bones, recycled glass and brass-cast shea nut and Adinkra symbols form a wearable vessel for protection, concealment and cultural continuity. The design features hidden compartments, shea butter and symbols like Eban (fence) and Nkyinkyim (twisting) to evoke sanctuary, restoration and fluidity. Informed by a research collaboration with Naarm-based queer artist Lilah Benetti, the work affirms queer histories in African history and spiritual life. It redefines adornment as a form of contemporary Indigenous spiritual technology, where ancestral knowledge remains active, shaping the conditions of our present and futures.’ – Ella Badu


Walter Brooks
Tiwi born 1994

Wangatunga jirtaka jilamara (A collection of ten folded bark baskets with sawfish design)
2025 Yermalner/Melville Island, Northern Territory
stringybark, earth pigments, bush vine

‘I’ve really liked learning from senior Tiwi artists Kenny Brown and Pedro Wonaeamirri to make these tunga from stringybark trees. Not many young people are doing this anymore. The design is “sawfish”, or jirtaka. I saw it in a work by old lady, Jean Baptiste Apuatimi. Her husband caught sawfish and used their spikes to paint – hanging them in trees so ants cleaned them. That story goes back to 1943.’ – Walter Brooks

Walter Brooks presents twelve wangatunga, or tunga, folded stringybark bags painted in jilamara – Tiwi ceremonial design – using locally sourced earth pigments. Once used by the wulimawi (old people) to carry water, food and children, tunga also feature in Pukumani ceremonies, during which they are placed over the tops of tutini (poles) as gifts for the deceased.


Dallissa Brown
Western Aranda born 1997
Hermannsburg Potters, Hermannsburg pottery studio
Australia est. 1991

This is real life, a collection of eleven pots
2025 Ntaria/Hermannsburg, Northern Territory
terracotta clay, underglaze

‘I have been the youngest artist working at Hermannsburg Potters for a long time. At the pottery, we paint our stories on the clay, learning and sharing Western Aranda culture with other artists. I learned to make pots from my grandmother, Dawn Wheeler, and my partner’s grandmother, Kumantjai R. Ungwanaka. Now I make pots with my own stories, in my own way. My body of work shares stories and experiences from young lives lived in my remote Aboriginal community of Ntaria. It is a snapshot of my practice, showing my own unique style, but also show how that sits within the collective history of Hermannsburg Potters.’ – Dallissa Brown


Andrew Carvolth designer and maker
Australia born 1993
Thomas Carvolth metal fabrication
Australia born 1996

Canteen and chairs
2025 Tarndanya/Adelaide
wood, aluminium, steel

Collection of the designer

‘Canteen and chairs reframes the dining space through the lens of resourcefulness, memory and material reinvention. The work draws on Australian domestic artefacts and public infrastructure associated with eating, such as bush pantries and barbeque shelters, exploring how shared meals connect place, history and community. Made from solid timber, cast aluminium foundry tailings and salvaged Holden automotive panels, the work combines cooking compartments and service elements, merging preparation with presentation. Echoing vernacular design through material use and subtle wit, Canteen and chairs merges sustainability, cultural memory and the evolving role of design in daily life.’ – Andrew Carvolth


Object Density, Wollongong design studio
Australia est. 2019
Nicola Charlesworth designer
Australia born 1993
Kim Stanek designer
Australia born 1993
Axolotl, Sydney formed-glass manufacturer
Australia est. 1995

Salt
2025 Wollongong, New South Wales
glass, aluminium, eucalyptus bark, acacia leaves

Collection of the designer

‘Salt explores Australian material culture in relation to the Sydney coastline, an environment shaped by the ongoing interplay of sea and land. The distinctive erosion patterns of Hawkesbury sandstone are translated into formed glass, defining the outer skin of this credenza. Local flora imbues the reclaimed extruded aluminium frame with soft golds, applied through an anodising process developed in our studio. Through these material, processes and ornamentation, the work reflects on the coastline as an ‘aquatic common’ – a place of shifting boundaries and shared experience, where geology, weather and materiality intersect to evoke both contemporary cultural practices and connections to place.’ – Nicola Charlesworth & Kim Stanek


Samantha Dennis
Australia born 1993

Anatomy lessons I–III
2023 Launceston, lutruwita/Tasmania
porcelain, bronze, sterling silver, 18ct gold plating, glass, faux pearl, freshwater pearl

Collection of the designer

‘Anatomy lessons I, II and III examine the transformative power of specimen logic through contemporary jewellery practice. A rat, toad and pigeon – each an undesirable in the everyday yet a subject of awe and wonder when rendered specimen – are presented as though mid-dissection. The bodies are porcelain, and the internal organs are laid bare within a bronze-lined abdomen. Close inspection reveals the organs are jewellery: a charm bracelet, a series of lockets, an elaborate ring. Anthropocentric notions of preciousness, value and intimacy are revealed in these small tactile objects, inviting the audience to question why or how those notions operate and change across contexts.’ – Samantha Dennis


Carly Tarkari Dodd
Kaurna/Narungga/Ngarindjerri born 1998

Skye necklace
Portree Hair clip
Love you bracelet
Flower ring
2025 Tarndanya/Adelaide, South Australia
raffia, ribbon, steel, sterling silver

Collection of the designer

‘This body of work, created in collaboration with my five-year-old niece Harper, speaks to the passing down of cultural knowledge through self-expression. It includes woven wearables: necklaces, bracelets, rings and hair accessories, alongside versions designed and drawn by Harper, scaled to her height. Using traditional weaving techniques and materials like raffia, ribbon and wire, the work reflects how children intuitively engage with identity and storytelling. It reframes play and adornment as powerful tools for cultural transmission. It celebrates cultural continuity, resilience and adaptation, acknowledging that many Indigenous communities have experienced disruption yet continue to find new ways of keeping knowledge alive. Our culture isn’t static – it’s living and breathing in many ways.’ – Carly Tarkari Dodd


Hamish Donaldson
Australia born 1992

Gnostalgia (Three vessels)
2025 Boonwurrung Country/Mornington Peninsula, Victoria
glass

‘My work Gnostalgia stands as an evocation of great mysteries – a remembrance of ancient temples as gateways to the inner and unseen. It reflects the above and the below, the inner and the outer, as the hermetic current pulses through time. Drawing on the entwined histories of glassmaking and alchemy, these vessels act as containers of transformation, shaped through the union of the tria prima – salt, sulphur and mercury. Blending ancient traditions with contemporary digital processes, Gnostalgia holds ancient wisdom in renewed form: a quiet offering of the sacred made visible in the present moment.’ – Hamish Donaldson


Jack Fearon designer and fabricator
Australia born 1990
Fearon, Burleigh Heads design studio
Australia est. 2019
Tambourine Glassblowing, Mt Tambourine glass manufacturer
Australia est. 2019
Meridan Sculpture, Melbourne bronze casting
Australia est. 1973

I love, I needed to
2025 Jellurgal/Burleigh Heads
glass, aluminium, bronze

Collection of the designer

‘Crafted entirely from repurposed aluminium offcuts and coloured recycled glass, this cabinet brings together my love of the Australian outdoors and furniture design. A cast bronze magpie is subtly included in the design – an homage to Australia’s native wildlife and turn-of-the-century Australian furniture makers who honoured nature in their work. The use of coloured glass brings a fluid, painterly quality to the piece, evoking the tones and textures of my perception of Australia’s landscape. Grounded in material reuse, this cabinet offers a slower, more reflective alternative to fast design, one that invites connection to place, care for resources and a respect for the handmade.’ – Jack Fearon


Olive Gill-Hille
Australia born 1994

Memento
2025 Walyalup/Fremantle, Western Australia
jarrah (Eucalyptus marginata), western she-oak (Allocasuarina fraseriana), karri (Eucalyptus diversicolor), tuart (Eucalyptus gomphocephala)

‘Humans are natural gatherers, drawn to objects, collecting memories through physical tokens. Memento is shaped by this instinct, reflecting on my own habit of accumulating natural fragments and everyday artefacts, and giving them personal meaning. I work with timber that has fallen on ground, selecting and assembling each piece based on its grain, shape and character, sometimes simply by feel. Through a bodily and intuitive process of carving, I let the forms emerge in collaboration with the wood. The resulting work is at once a vessel, a shelf and a sculptural object. Memento invites reflection on how we attribute value through touch and time into tangible objects.’ – Olive Gill-Hille


Marcel Hoogstad Hay
Australia born 1991

Moon 1–7
from the Moon Phase series
2025 Tarndanya/Adelaide
blown and mirrored glass, steel

Collection of the designer

‘This series comprises mouth-blown and mirrored-glass sculptural mirrors that reference the phases of the lunar cycle. Throughout human history, the moon has been a constant reminder of the sublime vastness of the cosmos. These mirrors do not function as a conventional mirror would; rather than providing a true reflected image, they show a heavily distorted one. This work is intended to reflect, highlight and enhance the spaces we exist in. It is also intended to be a catalyst for deeper contemplation about how we situate ourselves physically in the universe.’ – Marcel Hoogstad Hay


Katherine Hubble
Australia born 1991

Shell pendant I–III
from The Plastic Age series
2025 Naarm/Melbourne
polypropylene, thermoplastic, vinyl, acrylic, silver, gold

Collection of the designer

‘The Plastic Age is a series of neckpieces that honours the presence of shells in jewellery across human history. Archaeological evidence has determined that shells have been used in jewellery since the Middle Stone Age in North Africa. Within the pieces in this series, I have used seashells handed down to me from my mother, collected together when I was a child. The concept of the heirloom is intrinsic to my jewellery practice. I believe plastic should be regarded in the same way – as something to be valued and preserved. Rather than treated as disposable, plastic should be used as preciously as gold.’ – Katherine Hubble


Jay Jermyn
Australia born 1991

Veh, standing lamp
2024 Naarm/Melbourne
aluminium, stainless steel, ceramic, polylactic acid, borosilicate glass, light-emitting diode, electricals

Collection of the designer

‘Veh, a mother deity, explores contemporary anxieties around technological hybridity and humanity’s shifting relationship with the natural world. The lamp embodies the tension between creation and control, reflecting our entanglement with objects, belief systems and power. Cast in aluminium using a combination of sand casting and innovative 3D-printed investment casting, the work is adorned with synthetic dragon fruits. Veh serves as a symbol of how we both shape and are shaped by the systems we inhabit. Rather than offering sustainability as a solution, Veh questions the ideological roots of disconnection, particularly the belief in human domination over nature.’ – Jay Jermyn


Nicolette Johnson
England born 1990, lived in United States 1995–2005, arrived Australia 2005

Devotion
2025 Meanjin/Brisbane
glazed stoneware, lustre, epoxy resin

Collection of the designer

‘Repetition of a mark or gesture has long been practised as a form of meditation. When I’m in my studio making these repeating patterns by hand, I notice that self-consciousness fades, time feels altered, and an awareness of the body is expanded. When they are finished, I feel like I know them deeply, like we have been through something together. They also hold memories. I can look at the pot and remember exactly what I was listening to, or what was going on in my life in the duration of its making. They become important containers of emotion, memory and meaning.’ – Nicolette Johnson


Lavinia Ketchell
Meriam Mir born 1993

Solwata (saltwater) healing
2025 Erub/Darnley Island, Torres Strait Islands
plastic (ghost net) rope, wire

‘Torres Strait islanders are known as saltwater people. We are culturally and spiritually connected to the ocean. The ocean provides us with food; it’s a medium for transport and provides a livelihood for a lot of us. By creating this work out of ghost nets, I want to raise awareness. Ghost nets are fishing nets that have been abandoned, lost or discarded in the ocean. One piece of artwork is an abandoned net that’s not floating in the ocean, continuing to trap and kill many marine species and damage reefs. We all have a duty of care to protect the ocean for our children and their children.’ – Lavinia Ketchell


Claudia Lau ceramicist
Australia born 1996
House Editions, Jingdezhen and Melbourne ceramic studio
China est. 2019
Australia est. 2019
Shane Kent kiln firing, glaze and material development
Australia born 1958
Neville French glaze and material development
Australia born 1955

A kind of whiteness: Index
2025 Naarm/Melbourne
porcelain, stoneware, earthenware, feldspar, silica, clay, dolomite, shell, bone, ash

A kind of whiteness: Vessel
2025 Naarm/Melbourne
toneware, clay, feldspar

‘Whiteware – including toilets, plates, bowls, tiles and vessels finished in white glaze – represents a historical shift in ceramics from craft to mass production A kind of whiteness examines and challenges the limits of whiteware and the perceptions of whiteness, culturally and aesthetically. Adopting an inverted approach to the ceramic medium, I have interpreted glaze as the predominant body in the work. I developed over fifty white glazes that were transformed using trace elements in the glaze materials and firing atmospheres. Drawing on both Eastern porcelain traditions and Western reinterpretations, my work flexes between known and unexpected firing outcomes, celebrating chance, subtlety, nuance and variation.’ – Claudia Lau


Nicole Lawrence
Australia born 1993

Twelve Years Room Screen
2025 Naarm/Melbourne
aluminium, brass, cotton, steel, polyurethane

Collection of the designer

‘The Twelve Years Room Screen grew from my conviction that the hand of the maker must remain present in an increasingly automated, accelerated design landscape. Built from 432 brass motifs, each pressed, cut, surfaced and stitched by hand, this work scales up to architectural proportions a jewellery technique I first learned twelve years ago. Every component is a record of labour and focus, with slight variations that assert my hand’s presence. Built without permanent joins, the work can be entirely disassembled and renewed. This deliberate choice reflects my enduring commitment to sustainability, uncompromising technical precision and craft in contemporary design.’ – Nicole Lawrence


Alfred Lowe
Aranda born 1996

You and me, us never part
2025 Tarndanya/Adelaide
raku clay, underglaze, raffia palm

Collection of the designer

‘You and me, us never part is a declaration of love to my community. These works stand side by side holding their own space while joining in communion. They embrace collectivism and reject the self-made. With rigid and roughly textured clay combined with soft raffia adornments inspired by traditional practices, these works reflect the contradictions in all of us, capable of love and hate, pain and joy. They stand as witnesses – celebrating, commemorating and holding each other accountable. Embracing community is complicated and full of friction, but through the pain and the joy your people are there, side by side.’ – Alfred Lowe


Marlo Lyda
Australia born 1996

Pat, jumbo sculptural lamp
Fi, medium floor lamp
Dala, small table lamp
from the Kin series
2025 Warrane/Sydney
aluminium, acrylic, cotton, glass, pearls, plastic, dye, light-emitting diode (LED), electrical components

‘Kin is a new lighting series that marks my return to cloth, play and the quiet rituals of making passed down through the women in my family. Merging inherited crafts with my own design language, each lamp is personified, evoking the presence of my mother, grandmother, and myself. Crafted from inherited cotton cloth, hand-painted with reactive dyes, and adorned with glass beads and symbolic elements, Kin is a shared gesture of time, held in textile. With exposed seams and an internal steel frame, I celebrate the construction of the lampshade – revealing thread, dye and metal as quiet emblems of care, lineage and labour.’ – Marlo Lyda


Claire Markwick-Smith designer and maker
Australia born 1993

Table 1–7
aluminium, thermosetting polymer, granite, stainless stee
from the Portable Certainties series
2025 Tarndanya/Adelaide

Collection of the designer

‘Sourcing aluminium offcuts from suppliers to the automotive industry in Adelaide, I developed a series of iterative functional objects based on subtraction and reassembly. I consider the collection a proposal for rethinking standardisation in design. Formally, the objects reference tables, but leg heights and scales, which conventionally dictates a table’s purpose, have intentionally been subverted. I hope the final objects convey a sense of thoughtful, playful construction and composition, placing emphasis on adaptability through the use of adjustable mechanical fixings. Engaging with the legacy of modernism and Constructivism, I reduced elements to their simplest forms, while allowing things to be as they are.’ – Claire Markwick-Smith


Julian Leigh May
Australia born 1990

Caged cabinet
2025 Naarm/Melbourne
aluminium, natural latex, foam

Collection of the designer

‘A meditation on endurance, restriction, and release, Caged cabinet emerged from a deeply personal experience of physical confinement. Prompted by a life-altering brain tumour diagnosis, this work reflects a moment when time fractured, when the body, once a vessel of autonomy, became a site of uncertainty, resilience, and introspection. Through this piece, I invite viewers to confront the spaces in which we are held, and to consider how grace can take root even in the most challenging of times – asking: What does it mean to be caged, and what might it mean to be free?’ – Julian Leigh May


Simone Namunjdja
Kuninjku born 1996

Wak wak (Crow)
2024 Maningrida, Northern Territory
stringybark (Eucalyptus tetrodonta), ochre pigment, polyvinyl alcohol (PVA)
Collection of the artist

Wak wak (Crow)
Bekka (File snake)
2025 Maningrida, Northern Territory
stringybark (Eucalyptus tetrodonta), ochre pigment, polyvinyl alcohol (PVA)
Collection of the artist

‘I started painting lorrkon (hollow log coffins) to challenge myself. For many years they have been used for containing the bones of deceased, but today we also paint them as beautiful sculptures. To harvest the logs, we go out bush and listen to the trees, we bang them to hear if they are heavy or light. Termites hollow them out naturally – so we’ve made this artwork together. We cut them and then they dry out for a few weeks. Then we take the skin [bark] off, sand it and then paint. My aunty and my mother taught me how to make that. I’m keeping our culture strong through painting, for my daughter and the next generations; I feel proud of my culture.’ – Simone Namunjdja


Nathan Nhan
Australia born 1997

Trophy 74: Why not try it all, if you only remember it once?
Trophy 75: Walking around the Royal Bluebells
Trophy 76: Sincerely, Walter Mitty
2025 Ngambri/Kamberri/Canberra
earthenware, glaze

Collection of the designer

‘I use traditional ceramic vessels as both a formal and conceptual framework, transforming these historically significant forms into contemporary works I call ‘Trophies’. For me, vessels are more than containers – they hold memory, trace cultural exchange and honour ceramic heritage. By reinterpreting the vessel, I explore narratives that merge personal reflection with broader social commentary, navigating the epic history of ceramics across Eastern and Western traditions. Through experimentation, symbolism and cultural dialogue, I aim to blur boundaries between art and utility, past and present, private and communal, inviting viewers to consider the meaning and memory embedded in everyday objects.’ – Nathan Nhan


Annie Paxton
Australia born 1995

Masque I, cabinet
Masque II, cabinet
2025 Naarm/Melbourne
aluminium, pewter, brass

Collection of the designer

‘How do we hold stories, how do we contain memories? What are the secret histories embedded in materials, material processes, in a spatial narrative? Masque cabinets are performers sitting in dialogue, coupled characters in a choreography of parts that tie together space and stories, form and performance. Planar aluminium and cast metal are seamed with articulating axes, hinged panels, obscured veils. The formal expression is an investigation of movement and material threshold; the informal expression is one of a world concealed – a world charged with what Gaston Bachelard described as a “secret psychological life”.’ – Annie Paxton


Douglas Powell designer
Wales born 1992, lived in Zimbabwe 1992–2002, United Kingdom 2002–2019, arrived Australia 2020
Duzi, Fremantle design studio and manufacturer
Australia est. 2023

Mbosho, coffee table
2024 Walyalup/Fremantle, Western Australia stainless steel

Physalia, vase
Luva, lounge chair
2025 Walyalup/Fremantle, Western Australia
stainless steel

‘I approach design with an endless curiosity and the mindset of a lifelong student. Each new material or process feels like an invitation to experiment and discover. While stainless steel has become a signature medium in my work, I’m equally drawn to the unexpected possibilities that arise when I let techniques evolve in new directions. This piece reflects my belief that design should celebrate both mastery and openness to change. I hope it inspires others to see objects not just as static forms, but as living records of exploration – each shaped by the hands, questions and wonder that brought them into being.’ – Douglas Powell


Shahar Cohen designer
Australia born 1994
Amy Seo designer
Australia born 1991
Second Edition, Sydney design studio
Australia est. 2021
Liam Marosy-Weide fabricator
Australia born 1991

Anyw(c)here
2025 Warrane/Sydney
steel, marble, ceramic

Collection of the designer

Anyw(c)here is a provocation at the intersection of utility, mobility and object ontology. A self-contained unit, the central tower integrates all the functional requirements of a bathroom into a single vertical structure, including plumbing, sink, toilet, shower and storage. Clad in salvaged marble, the exterior offers a tactile surface. Each piece of marble carries its own story, contributing to a layered narrative of reuse and reinvention. This work questions notions of permanence and architectural boundaries, inviting viewers to reconsider how we define and inhabit space. It also speaks to the legacy of architecture and how we might rethink material consumption through temporary, functional objects that allow for future adaptation.


Emma Shepherd designer and weaver
Australia born 1997
Sundance Studio, Melbourne design studio
Australia est. 2020
Ilm Interiors, Melbourne timber fabricator
Australia est. 2023

Shape/shifting
2025 Boonwurrung Country/Mornington Peninsula, Victoria
banana fibre, linen, walnut husk dye

Collection of the designer

‘These woven banana-fibre screens rethink spatial division within interiors. They offer adaptable, scalable boundaries that move, bend and join via a track system. In response to the need for higher density living, these screens function as soft architectural interventions, replacing static elements like walls, curtains and doors, while filtering light, absorbing sound and aiding thermoregulation. The use of banana fibre – a renewable, biodegradable byproduct of banana cultivation – reflects a commitment to rethinking waste and consumption. Naturally dyed with eucalyptus and iron, the panels carry visual references to the Bauhaus school and evoke its teachings of materiality, functionality and simplicity.’ – Emma Shepherd


Dalton Stewart
South Africa born 1996, arrived Australia 2012

Basalt shelf: Cadavre exquis
2024 designed, 2025 manufactured, Naarm/Melbourne
basalt, stainless steel

Collection of the designer

‘Basalt shelf: Cadavre exquis considers the natural, cultural and built legacy of Victorian basalt, also known as bluestone. Sourced from demolished civic sites, these fragments carry both geological and colonial histories. In acknowledging this, their reuse and reframing as contemporary design seeks to reposition basalt, asking how design might serve as a vessel for cultural memory. Borrowing from Italian architect Aldo Rossi’s (1931–97) concept of the “significant place”, the work explores the semantic space between history and memory. The bookshelf becomes a symbolic scaffold, neither purely sculptural or functional, but where design and narrative intersect.’ – Dalton Stewart


Shahn Stewart designer and maker
Australia born 1994
Bill Christensen steel manufacturer
Australia born 1993

Bogong wall light
2025 Naarm/Melbourne
eucalyptus bark, stainless steel, light-emitting diode, electricals

Collection of the designer

‘This wall light honours the native bogong moth, once abundant in the Victorian Alps, whose moon-guided migrations marked important ceremonial times for Aboriginal people. Today, light pollution and environmental changes have led to the loss of 99.5 per cent of the moth’s population, disrupting ecosystems and cultural traditions. Made from layered eucalyptus bark – a key food source for the moth – this wall light evokes its habitat and former numbers. Soft backlighting symbolises the moonlight guiding migration, while shifting light intensity traces the moth’s dramatic decline in numbers. The work invites reflection on loss, resilience and renewal, and highlights the vital role of First Nations knowledge in protecting and sustaining Country.’ – Shahn Stewart


Georgie Szymanski
Australia born 1994

Szafka
2025 Naarm/Melbourne
blackwood (Acacia melanoxylon)

Collection of the designer

‘Emerging from an interest in making objects and furniture that invite exploration, Szafka is a tall, slender cabinet that uses drawers, doors and openings to display and contain objects – whether sentimental or ordinary. Named after the Polish word for ‘cabinet’, Szafka is made from the blackwood-timber doors of the original kitchen cabinetry in my childhood home. Using traditional joinery methods combined with contemporary tools and hand-work techniques, I have reworked the formerly bulky cabinet. By working vertically and subtracting material, the piece offers a relief from the oversized, weighty furniture of the past.’ – Georgie Szymanski


Kohl Tyler
Aotearoa/New Zealand born 1993, arrived Australia 2018

Esse I–V
from the Vessels for the By and By series
2025 Naarm/Melbourne
stoneware, dolomite glaze

Collection of the designer

‘I imagine these vessels as speculative artefacts – future remnants of our planet that draw on deep geologic time, fossilisation and the ephemerality of existence. As a designer living in an age of mass production and ecological collapse, I explore future material and biological ecologies in my practice, envisioning futures that branch away from the moribund predictions of today. My process is material-led and labour-intensive; it’s antithetical to the mass produced. I employ slab-building, carving, coiling and hand-building methods. Each vessel is high-fired, inviting shifts in form, welcoming movement, dynamism, and the ferocity of heat and earthly elemental forces.’ – Kohl Tyler


Isaac Williams designer and maker
Australia born 1991
Isaac Williams Design Objects, Launceston design studio
Australia est. 2015
Launceston Powder Coating, Launceston manufacturer
Australia est. 2015

Rebirthed pallet dine, table
2023 designed, 2024 manufactured, Launceston, lutruwita/Tasmania
pine, polyvinyl alcohol, stainless steel, wax, oil

Collection of the designer

Rebirthed cork dine, chair
2025 Launceston, lutruwita/Tasmania
steel, plywood, cork, stainless steel, thermoplastic, wax, oil

Collection of the designer

‘Rebirthed is a collection of furniture created from discarded objects. Rebirthed pallet dine, table is constructed entirely from single-use pine pallets. After witnessing the large quantities of pine pallets being discarded in my home town, I developed both the table’s design and a new, broadly applicable timber rebirthing process. The minimal form of the table echoes the tree’s essence while balancing the visual busyness of the timber laminations, providing structural strength. Similarly, Cork rebirthed dine, chair was developed in response to large quantities of discarded steel-framed chairs with failing vinyl/leather upholstery. With these chairs, I have reconditioned the frames and replaced the upholstery with cork.’ – Isaac Williams

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