Self Portrait 2019 (2025) – Screen printed Earthenware
Self Portrait 2019 is my exploration of the layered nature of masculinity. Carved with labels like homo, son, provider and broken, my ceramic bust asserts that a gay man’s internal landscape is built from the same raw materials as any other man’s. Fractures from the kiln, repaired with epoxy, mirror my own healing and resilience. Blue Australian flora acknowledges my colonial heritage on stolen First Nations land, grounding my identity in the home I love and the universal spectrum of male fragility.
Self Portrait 2019 (2025) – Rex Livingston Art+Objects Gallery 2026
Unapologetically Here – Stoneware and Earthenware ceramics
Unapologetically Here (2026). The hard hat symbolises masculinity and strength; the rose, femininity and romance; the spray can, rebellion and self-expression. Why can’t I be all three? As a gay man in a straight world, I navigate the constant expectations of what it is to be masculine, to be a man.
Unapologetically Here (2026) – Burwood Library 2026
Queering the Straight Line – Stoneware, single channel video, 3 channel audio
Queering the Straight Line (2025). From the archive of memory, personal objects are transformed into spectral forms, manifesting a perpetual presence, where the lingering affects of trauma are made visible in the form of seance. This representation of Queer Haunting allows a reorientation of history and offers reparative justice through healing and forgiveness.
Ross Steele AM Fine Arts Prize – Highly Commended. “The understated poetry of Redherring’s carefully curated installation invites the viewer into the artist’s early life in a way that is forthcoming yet also very intimate.” Dr Felicity Fenner, (Professor, UNSW School of Art and Design) and Jaye Early (Lecturer, UNSW School of Art and Design)
Queering the straight line (2025) – The Annual 2025 – UNSW Galleries 2025
Bruce and Frank – stoneware and mixed media
Bruce and Frank (2024). The process of transforming recycled clothing into ceramic forms was a cathartic way of exploring the layers of masculinity, reflecting the way men often present a public persona that conceals their inner vulnerabilities. Once draped on the busts, I moulded and shaped the delicate ceramic fabric to each body, gently painting with more layers of slip to give the garment strength. The final ceramic garment represents both the stonelike exterior and the softer, vulnerable layers that lie beneath the male psyche.
Bruce and Frank represent the performative aspects of masculinity within a gay relationship and the ways in which individuals conform and challenge societal expectations. I challenge traditional notions of gender and sexuality, encouraging a more nuanced understanding of what it means to be a man.
Can Culture Series #3 – 2025 Earthenware, underglaze and gloss glaze
Advertising has played a complex role in shaping Australia’s cultural identity. From the early days of jingles and billboards to the contemporary era of social media and influencer marketing, ads have both reflected and influenced Australian values, aspirations, and anxieties.
Through the lens of spray cans, a ubiquitous symbol of self-expression, I fuse pop culture and personal narratives to explore this nostalgic relationship between advertising and Australian post-colonial culture.
The surfaces of my ceramic spray cans are screen printed in underglaze with abstracted branding, acting as triggers for personal recollections from the 1970’s to now. They whisper of my childhood summers, Sunday ice creams, bike rides with friends and my first jobs.
By printing fragmented poetic memories, I invite viewers to unlock their own trove of memories and experiences, recollected through the lens of these everyday brands that have become a part of Australia’s post-colonial psyche.
Can Culture Series #3 sculptures are an extension of my Can Culture prints from 2023.
Country to Plate. Terracotta, stoneware, earthenware, cyanotype, wood and mixed media
Country to Plate (2024), is a sensory journey through the Australian landscape, translated into ceramic forms. This work is a testament to the interconnectedness between the land, its resources, and the objects we use in our daily lives.
