SELECTED INSTALLATIONS / EXHIBITIONS

HOME GROWN; Bound by Place, 2025

Roots and Entanglements, Multimedia Installation – ceramic tree (glazed stoneware) H 155 x W 44 x D 44 cm, 5 ceramic “roots” with hand-marks, collaborative video with Brett Studholme; Group Exhibition, Selected (A+B Studholme), Art Space on The Concourse,, Emerge Festival, Chatswood, Australia.

Reflected in Nature, 2025

Joint exhibition with Susanna Chen Chow (paintings, The Shop Gallery, Glebe, Australia.

14th GreenWay Art Prize, 2024

_{Light & Shadow Form, finalist, stoneware, H 105 x W 35 x D 35, White Bay Power Station, Sydney, Australia.}

Civic Park Inside Outside Sculpture, 2023

_{Natural Geography in White, stoneware, H 85 x W 36 x D 23 cm. Invited, Arts & Culture North Sydney, Ted Mack Civic Park, North Sydney, Australia.}

North Sydney Art Prize, 2022

Vortex (a story of a falling rain that rises to the light and falls again), finalist, site-specific installation – 20 joint ceramic elements H 116 x W 151.2 x D 10 suspended within a 2 x 2 x 2m metal cube frame, Group exhibition curated by Jess Gledhill, The Coal Loader, Waverton (Sydney), Australia..

Le Petit Salon de Sculpture, 2022

Light & Shadow Forms, Ceramic Installation (glazed stoneware), Group Exhibition – outdoor & indoor, Invited, Q Station, Manly, Australia.

Lunar Landscapes of a Poetic Mind, 2022

Solo Exhibition, Rayner Hoff Project Space, National Art School, Sydney, Australia.

Between gas stove and table (the thought), ceramic wall-installation (glazed stoneware) with embedded images and “braille-spikes” text from a poem Incomprehensible (I) by Elke Erb, H 152 x W 300.3 x D 13 cm, The installation functions as a sculptural poem, tracing affective (under)current of an embodied memory:

Zenrin-kushū (Zen Forest) Branches, ceramic wall-installation (glazed stoneware) with “braille-spikes” text referencing moon, transcribed from the anthology of Zen Forest Sayings (Zenrin-kushū no. 32, no. 37, no. 154, no. 213, and no. 290), dimensions variable, H 68 cm.

Mandala Installation, ceramic (glazed stoneware) sculptures, collaborative video with Youngdong Kim of Alma Studholme’s EEG brain waves during meditation. Kim’s software transformed the brainwaves into colourful Tibetan Buddhist mandala patterns, which Studholme then modified into monochrome palette according to her preference for the subdued Zen aesthetic. Being second iteration of the video incorporated into a new multimedia installation, the video was projected onto the space-in-between two ceramic forms, briefly highlighting them.

Vortex (a story of the falling rain that rises to the light and falls again), ceramic installation (stoneware surfaced with gesso),, 20 joint elements – H 116 x W 151.2 x D 10 cm – suspended in a metal cube-frame 2 x 2 x 2 m.

The Sea, stoneware surfaced with gesso, 50 cm diameter. The sculpture transcribes a poem The Sea by the Croatian poet Josip Pupačić,(1928-1971) into “”braille spikes”. The poem can be read anticlockwise by touch; with each line formed as a wave.

Project 2060: Homeward Bound, 2021

The ceremony of innocence is drowned (but the invisible centre still holds), Mixed Media Installation (glazed stoneware, paper, lights, wood), dimensions variable, Invited, group exhibition curated by Alison Clark, ,Arts & Culture North Sydney, The Coal Loader, Waverton, Australia.

Tears of Things, 2020

Joint Exhibition (A+B Studholme and Terhi Hakola), Incinerator Art Space, Willoughby, Australia.

Retracing, 2020

Group Exhibition,, Art Space on The Concourse, Chatswood, Australia.

Chasing Fibonacci Series

Chasing Fibonacci No. 1 H 52 x W 53 x D 20 cm; Chasing Fibonacci No. 2 H x W x D; Chasing Fibonacci No. 3. H 54 x W 46 x D 20 cm; Chasing Fibonacci – Light Form H 95 x W 31 x D 29 cm..

North Sydney Art Prize, 2019

Liminal, finalist, site-specific installation – suspended chair, rope, stone, dimensions variable, The Coal Loader, Waverton (Sydney), Australia.. Group exhibition curated by Alison Clark.

The Red Project, 2018

Between the Eye and the Eyelid. invited, site-specific installation – ceramic, clay, copper wire, caul fat (omentum majus) silicone cast, Eucalyptus tree, The Coal Loader, Waverton (Sydney), Australia.. The North Sydney Arts & Culture exhibition curated by Alison Clark featured artworks by 74 female artists across 5 venues, in celebration of local creative women and international Woman’s Day.

Share House, 2017

Light and Shadow Forms, mixed media installation (ceramic, mussel shells, wire, gesso); Light Form H 98 x W 22 x D 30 cm; Shadow Form H 158 x W 30 x D 30 cm. Group Exhibition, Byron Bay School of Art, Mullumbimby, Australia.

A Year at the Coal Loader, 2017

Solo Exhibition, Coal Loader Artist Studio, Waverton,, Australia..

Poetry Bloodline (or Reading Faruk), Mixed Media Installation (wire, mussels, paper, chair), dimensions variable.

“I recognised the washed indigo of mussels pierced into sand like helmets of cosmic Lilliputians. People ran their dogs near the Ocean. Wind blew imagination in all directions.” Faruk Sehic, from the poem Liberation Day

Self-Portrait as a Landscape in White, 2017

Solo Exhibition, TWT Creative Precinct, St Leonard, Australia. Mixed media installation: wire, organza, wood, sandstone, salt, concrete, lights, dimensions variable.

Accreation II: Ontological Transmutations, 2016

Solo Exhibition, Verge Gallery, Sydney, Australia..

Accreation: Un-becoming and the Surface as Sight, 2015

Firing Enso, multimedia installation (Enso porcelain sculpture, 53 cm diameter x D 11 cm, performance video). Group Exhibition, Verge Gallery, Sydney, Australia..