I make jewellery and objects.
My arts practice spans over thirty-five years and I am a partner and founding member of Gray Street Workshop.
From 1999-2008 I was the Creative Director of the Metal Design Studio, JamFactory Adelaide and in 2008 the Chair of the JMGA SA Inside/out International Conference Committee.
For seven years from 2010-2017 I was the curator of the exhibition program at Gray Street Workshop Gallery. The gallery was a launch pad for many emerging artists and together with Catherine Truman and Jess Dare we presented a calendar of exhibitions and events that challenged and inspired our audiences.
I am represented by Galerie Ra, Amsterdam, The National, Christchurch Gallery Funaki, Melbourne and most recently by Tereza Seabra Gallery, Lisbon, Portugal.
I have exhibited at the Tokyo Museum of Modern Art and Kyoto, National Museum of Modern Art through the Asialink Touring program, at the London, Design Museum in the Australian exhibition Unexpected Pleasures and currently have work in the exhibition The Language of Things at the Dowse, Lower Hutt, New Zealand.
My work is held in the collections of most Australian state galleries.
I am currently the grateful recipient of an Australia Council for the Arts - Arts Projects For Individuals and Groups grant, to make new work for the exhibition titled Measured for Gallery Funaki, July 2019.
Artist Statement 2019
My practice revolves around my relationship with objects and their potential and power to hold and to assign meaning and memory.
I strive to make work that is personal but with a degree of abstraction, work that is sometimes wearable, sometimes not, sometimes solid, other times fragile, often small, on occasions large, always thoughtful, never rushed and made with skill and refinement.
I have considerable experience working with mild steel in a style that is graphic and minimal. More recently I have been incorporating found objects and materials into my pieces, vinyl records, iPhone cases and clutch pencil parts, and am interested in the conversational possibilities these materials add to the work.
For some time I have beeninvestigating how we have shaped our relationship and understanding of science, biology and physics through public collections. I am particularly fascinated by the role of the scientific model as a means of making tangible the past and the future; the micro and the macro. Based on this research and observation I have created works that offer another interpretation, that are part science, part engineering, part specimen and part whimsy. I enjoy mixing historical and contemporary issues, traditional and non-traditional materials, to create my own index of objects.
Drawing on previous techniques, skills and interests, in 2017 I exhibited a new body of work in a solo show titled Precisely. This exhibition was a tribute to my late father, architect and artist Hans Lorraine, and was born from a place that was more intimate and personal than earlier collections of work. Anne Brennan in her essay to accompany the exhibition described the work as a “tender posthumous conversation with a man who in life was difficult to know.”
The works in Precisely drew together a lifetime of creative and emotional threads; the materials, the processes and the resulting objects were all about slowing things down, holding the memories still, enjoying the making, reflecting on time, understanding the relationship and sharing the story.
The exhibition marked a significant turning point for me, in that I allowed myself the space to make without a sense of a fixed outcome. With this came a shift in approach and process and a more fluid and responsive relationship to the materials I was using and objects I was making.
The freedom to explore more open-ended ways of working that I began in Preciselyis the way I would like to continue to work.