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Maker of the Month | Lauren MacDonald from Working Cloth

The intricate and old-world craft of quilting represents everything we love about the art of making - it encourages the maker (and viewer) to slow down and appreciate every hand-stitch. Lauren MacDonald has a gentle love for the history and culture of textiles and this is richly represented in her quilting practice Working Cloth. Her stitched creations are imbued with time and patience, and her colour palettes are subtle and calming. We are pretty much in love with everything she makes.

We interview Lauren to find out more about her practice...

Can you tell us a little about your self and your practice?

I am a quilt maker and designer and am currently based in Sydney. I am Canadian, and have spent the last 5 years living and working in London before moving to Australia this past March. I make, study and teach all things textiles. I have experimented with wholesaling and retailing my work, however prefer to work on commission. I enjoy working with a client to ensure I am making something they will love forever, or working on a self indulgent project in which I don’t have to worry about a piece’s commercial end.

When and how did you first get started in textiles?

I started sewing when I was 15 or 16 - and just made really naff hoodies for all of my friends and family with flannelette pockets. I continued sewing through my teens and ended up transferring out of a bioscience degree to study Human Ecology - I focused on material culture studies and textile science. I moved to London for an internship in fashion after my degree.

Can you describe those early days?

I was working as a studio manager and then as a production coordinator for different fashion labels in London. I learned an amazing amount from the designers and pattern makers I worked under - from admin and management skills, to practical sewing and construction techniques, to conceptual design and colour choice. I didn’t have time for a formal design practice of my own at the time. It was a few years of intense learning.

What has the journey been like since those early days?

I never expected to be doing Working Cloth. I quit working in fashion last year - which up until that point had been a huge part of my identity. I was visiting Australia with my partner at the time and felt really lost, confused and unsure what to do next. Working Cloth began from me trying to address some of those feelings.  I wanted to focus on the cultural and historical aspects which I had always loved about textiles and fashion, and to use a process I felt ethically comfortable with and could maintain long term.  Working Cloth has gone through many manifestations but ultimately it has given me a platform to work on projects which I love.

Can you give us some insight into your creative process and where you draw inspiration?

I usually start by mood boarding and then sketching. I have many files devoted to a particular texture or colour - a mood I would like to capture. I also have a load of vintage quilting books that I use as references for patterns and techniques. Sometimes I’ll find a textile I love and feel the need to include it and I just sort of go from there.

What does a typical day look like for you?

I am a bit of a night owl at the moment and end up sleeping until 8 or 9.  I’ll make a coffee and a bit of toast and do a bit of reading, then get ready to work.  I live in a one bedroom apartment and my studio is my lounge room. I have a few collaborative projects on the go at the moment, volunteer work, and another job, so Working Cloth functions as a restorative practice. I focus on it a few hours each day and keep up a consistent pace. I try to go for a walk or a swim everyday - it clears my head and helps me keep things in perspective. I find getting in the ocean is a pretty good cure-all for any extra stress or anxieties.

What are you…

reading? In Defense of Lost Causes by Slavoj Zizek

listening to? Ribbons by Lazy Day

watching? Cosmos - Carl Sagan’s 1980 mini series. I’ve already rewatched the 2015 ones with Neil deGrasse Tyson earlier this year and thought I should get into the original.

Can you tell us the first thing that pops into your mind when we mention the word …

Breakfast: Coffee

Weekends: Beach                      

People: Places 

Pause: Stop                 

Sound: Music   

Smell: Lavender           

Place: Home                

Texture: Satin         

Ritual: Swim          

Colour: Green   

What’s one thing you can’t live without at the moment?

The numerous friends and family members constantly being called and sound boarded off of and who are very patient with me.

Any advice or words of wisdom for other makers out there?

Document your process. It doesn’t have to be public or structured, and it doesn’t come naturally to me, but it is an incredible feeling looking back at where you’ve come from and how your practice has grown.

We are really excited about your upcoming workshop at Guild, can you tell us a bit about it?

I am running a quilted coin pocket workshop. It’s my second workshop at the Guild and I am very excited to be back. We’ll be making up little zip pockets using the fundamentals of Hitomezashi (one stitch) sashiko - a method of visible mending and embroidery that dates back to the Edo period.

Any other projects or news you want to share?

Yes! I have an exhibition coming up next month for part of the inaugural Sydney Craft Week. It’s at blank_space gallery in Surry Hills from October 7-13. It’s a multimedia exhibition featuring a soundscape by the incredibly talented Alyx Dennison. I am also working on a project called Electrocraft, with Laura Walsh of Sydney Makerspace Bobbin and Ink.  The idea is to introduce basic scientific concepts in a very simple craft project. For our first workshop we’re doing some circuitry in the form of light up LED cards and badges. The aesthetic is a bit 70’s sci fi - it’s very different than Working Cloth and a wonderful challenge in its own way.

You can follow Lauren on Instagram.

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Exhibition // Tidal Detritus

Tidal Detritus | 26 August - 2 September
Guild of Objects, 690 Queensberry Street, North Melbourne
Please join us for the launch party on Saturday 2 September, 10am - 12pm

Torquay-based jeweller Regina Middleton looks for beauty in the abandoned: found and foraged materials are central to her practice. In Regina’s upcoming exhibition at Guild of Objects, Tidal Detritus, Regina re-contextualises items rejected by the ocean or discarded on the beach, re-purposing them into wearable and non-wearable pieces. Motivated by a desire to clean up her local beaches and an interest in previously loved objects, Tidal Detritus invites us to contemplate our perceptions of treasure, and to look for beauty in unexpected places.

Tidal Detritus is presented by Guild of Objects as part of the Radiant Pavilion Festival. To coincide with her exhibition, Regina will be presenting a silver jewellery making workshop, focusing on found and foraged material. Read more about Regina and her practice here.

Follow Regina on Instagram

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Exhibition // In Common

In Common | 3 - 12 August
Guild of Objects, 690 Queensberry Street, North Melbourne
Please join us for the launch party on Thursday 3 August, 5 - 8pm
From its outset, Guild of Objects has always been dedicated to generating and supporting a community of artists. Our upcoming exhibition, In Common perfectly encapsulates this mission, by providing an opportunity for artists to come together, to interact and share ideas.
Containing work made collaboratively by pairings of artists, In Common seeks to reveal existing networks in Melbourne’s – and Australia’s – creative landscape, and to shape new connections between artists. Featuring work made by dynamic pairings – Chela Edmunds + Abbey Rich, Elizabeth Barnett + Katia Carletti, Tessy King + Samantha O’Farrell, Bianca Mavrick + Louise Meuwissen, Kirsten Perry + Merryn Lloyd, Cheralyn Lim + Georgina Glanville, and Ashley Ronning + Rosaleen Ryan – the show fosters cooperative practice and provides a space for artists to explore new directions in their work.

Given minimal parameters regarding the form that completed work should take, each pair interpreted the collaboration differently, with diverse and exciting results. Containing terrariums, a tea set, life size garments, jewellery and more, the exhibition has taken on a life of its own and veered off in unexpected directions. Taking place across cities and states, the collaborative exercise has connected artists from a range of geographical locations, bringing together and strengthening links within a wide group of makers. 


Though each duo approached the exercise in quite distinct ways, common themes have emerged, particularly ideas around support and dialogue: the show contains pieces that reference and ‘speak to’ one another, and objects that balance and literally hold each other up. The exhibition title In Common denotes shared characteristics and, in this context, the notion of communing – coming together to identify with one another, to talk and to share ideas – concepts which seem highly appropriate, not only to the theme of this year's Craft Cubed Festival 'Crafting Communities', but also to Guild of Objects itself, being some of the fundamental principles that Guild was built around. 


Images: Bianca Mavrick + Louise Meuwissen digital collage, Chela Edmunds + Abbey Rich screen printed ceramics, Katia Carletti + Elizabeth Barnett ceramic objects and painting (detail), Ashley Ronning + Rosaleen Ryan resin object, Tessy King + Samantha O'Farrell ceramics, Kirsten Perry + Merryn Lloyd ceramic objects painted with encaustic, Cheralyn Lim + Georgina Glanville layered painting on ply (detail) 


This exhibition is presented by Guild of Objects in conjunction with the 2017 Craft Cubed Festival. 


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Maker of the Month | Hilary Green

Hilary Green is a Melbourne-based artist who illustrates, animates, makes ceramics and zines, teaches children and (in her own words) cooks up too many ideas all at once! Her practice spans many disciplines and her sources of inspiration are equally diverse, ranging from Gumby to Osamu Tezuka. Regardless of what she is making at any given moment, Hilary's work has a distinctive playfulness which caught our eye and appealed to our inner child. 

We recently chatted to Hilary about her imaginative method of storytelling and her upcoming projects, including an animation workshop at Guild...

Can you tell us a little about your self and your practice?

My name is Hilary Green and I live and work creatively from home in Coburg. In short, I am a teacher, an illustrator, ceramicist and animator.  My practice is spread across a few mediums, I think because I get distracted easily but also because each one inspires me in a different way. I currently have been making playful ceramic pieces which I carve illustrations into and am selling them through my website. I have also started making larger pieces for exhibitions. My animation practice has molded into ceramics as I love animating creatures to promote the pieces I make and bring them to life as I see them. I also work in a school where I am able to teach animation and zine making to children and am constantly inspired by their stories. My own illustrations and zines and are featured on my website. My work mostly focuses on connecting with characters I imagined as a child but also revealing their flaws and disillusionment with reality.

When and how did you first get started in drawing and animation?

 I got started drawing as soon as I could hold a pencil and ever since I saw Gumby on television I loved animation. After studying Fine Arts I believe I really started using animation when working with children. Animation was the ultimate storytelling tool. With illustration, I designed a few t-shirts and sold them online while I was travelling in 2009 and also made up my mind to one day illustrate a picture book.


Can you describe those early days?

Quite confused. I had finished my degree in fine art photography and started teaching children and loved it but felt very isolated creatively. Social media wasn’t as big then and it took a while before I made sense of how to use it to connect with other creatives and build my portfolio online. I remember after a long break from drawing, putting work  on instagram for the first time actually took a bit of courage but I thought then - and still think now - oh well it’s all me, so let the world see it and see where it leads.

What has the journey been like since those early days?

I have to say, since using social media and connecting with other creative people online, at markets and galleries, I have more than anything gained confidence in myself and the creative community in Melbourne especially. Opportunities arise and change my course but I feel it has been so valuable to see changes in my practice online which helps me reflect.  My focus now is to hone in on what I feel passionate about by telling stories through all mediums and inspiring a childlike imagination wherever I can. There’s something disjointed in the world of adults and children. We are all people and I want to explore that in my work more.

Can you give us some insight into your creative process and where you draw inspiration from?

I have learnt that sometimes inspiration comes in the form of mistakes. When I started painting on ceramics I found that the form of the mug made me think of different creatures. I saw ears in handles and sharp teeth around where your fingers would be.  In planning, I carry with me everywhere a little notebook to storyboard animations and future zines which helps before tranferring that to ink. Lately I am inspired by old childhood books ‘Catwitch’, Shaun Tan’s books, Dororo by Osamu Tezuka and Alessandro Sanna’s illustrations. Mainly I am inspired by my own childhood and all the wonderful children I have met.

What does a typical day look like for you?

Depending on the day I try to balance my different projects. I find I like to start the day with a big breakfast by the fire in the kitchen and a coffee in the sun with my housemate Amy. I then straight away go to the studio to check my ceramics, either preparing clay, carving or glazing.  I then may need to post an order or drop off ceramics at Northcote Pottery for firing. Regularly checking my emails, updating social media and my website are also in there. When I can, I try to edit photos or scans of illustrations from the night before. In the late afternoon I might to go for a walk, cuddle my cat or go to the market and do a big cook up. I find the only time I can draw or animate is after dark so I sometimes have a hot bath and relax before I go back to creating.


What are you...


Budda, a graphic novel by Osamu Tezuka

...listening to?

Perfume Genius


Twin Peaks

Can you tell us the first thing that pops into your mind when we mention the word …

Breakfast: Bacon

Weekends: Sunshine

People: Heads

Pause: Statue

Sound: Crackle

Smell: Smoke

Place: Backyard

Texture: Stone

Ritual: Bath

Colour: Gold

What’s one thing you can’t live without at the moment?

The fireplace in my kitchen. It’s the heart of the house.

Any advice or words of wisdom for other makers out there?

Play, I think when we play, make mistakes and keep creating, we are defining the edges of a magical thing that exists outside of our plans. But also be aware of what you like and follow and perfect that more.  Connect with as many makers as you can to support and be supported.

We are really excited about your upcoming workshop at Guild, can you tell us a bit about this?

I’m so excited to be sharing my love of animation. This workshop will give a solid introduction to planning an animation, making clay and paper models, getting used to animating on a device and a behind the scenes look at how I animate with a more professional set-up. I love giving people ideas so it would be a great workshop if you want to aim at animating your own product or even if you want to try a different medium for a change. Animating is so fulfilling and I hope my love of it rubs off on you.

Any other projects or news you want to share

I have my first SOLO show coming up at Brunswick Street Gallery  ‘Childlike’ opening on the 21st of July.

I am also excitedly working on a playful women’s fashion label called ‘SHY HERO’ which I design with two other magical women. This will be released in a few months and features my illustrations on some of the fabric. Keep your eyes out lovely ladies! 

 Follow Hilary on Instagram

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Maker of the Month - Bec Smith

We first saw Bec Smith's work at her RMIT graduate show and loved the texture and playfulness of her work. Drawing inspiration from the plant conservatory at Fitzroy Gardens, Bec’s work references the fleeting nature of flowers in bloom, as well as sweet snacks, suggested by her candy-coloured palette and the textures and surfaces of her ceramic forms. 

Peach Bloom, Bec’s first solo show, launches at Guild of Objects on 8 June, and will combine edible and olfactory elements with ceramic forms to produce a sensory and romantic space.

Peach Bloom by Bec Smith |  8 June – 10 June
Guild of Objects, 690 Queensberry Street, North Melbourne
Please join us for the launch party on Thursday 8 June from 5 – 8pm
We recently interviewed Bec about her art practice and her upcoming exhibition. Taste and smell are not usually words associated with sculpture, yet they play a key role in the work of Bec Smith, a lover of gardens and the sweetness of desserts...

Can you tell us a little about yourself and your practice?

I’m Bec Smith. I am a ceramics and installation artist from Melbourne. I mostly work with porcelain and use hand pinching and coiling techniques to create my forms. My practice is closely linked with my love for gardens.   

I am currently making work for exhibition, selling my ceramics and working on commission. I live in Footscray and have a studio in North Melbourne, where I make and fire my work.  

When and how did you first get started in ceramics?  

My interest in ceramics started during my first couple of years studying Fine Art at RMIT. I was attracted by porcelain’s texture, malleability and translucency. Once I started working with clay I became captivated with the material.  

What has the journey been like since those early days? 

My work is constantly evolving as I learn more about the ceramic process. I started out making a series of small sculptures and vases, and experimenting as much as I could. I was fascinated by the glazing process and spent the first years of my study developing glaze recipes, getting my head around the technicalities. As my understanding of ceramics grew, I began making larger and more delicate objects pushing the limits of my material. I have also learned to love the unpredictable nature of ceramics.  

Where do you draw inspiration from?  

I’m currently drawing a lot of inspiration from the plant conservatory at Fitzroy Gardens. I’d like my work to reflect the romance of the natural world and the fleeting cycles of flowers in bloom. More broadly, my work is about my love of desserts, fragrances and the nostalgia attached to taste and smell.   

What does a typical day look like for you?

If I’m not working as a barista, a typical day for me starts at 8am. I’ll take my time to wake up before having a coffee and breakfast and write a list to organize my day. I’ll usually start by doing some paintings and drawings, making notes about my ideas. Some days I prefer to start working with clay and I’m often working on a few different sculptures at a time. I snack throughout the day, gaining inspiration from the shapes of cakes, ice creams and scones. When I’m not feeling creative, I try to get out of my workspace and visit gardens. I sometimes take a notebook with me to do drawings or make notes.  

What are you...

...reading? The outlander series 

...listening to? Donna Summer 

...watching? Transparent and Chefs Table 

Can you tell us the first thing that pops into your mind when we mention the word … 

Breakfast: Sweet  

Weekends: Coffee 

People: My sister 

Pause: Sleep 

Sound: Trees Rustling  

Smell: Rose 

Place: Kyoto 

Texture: Icing 

Ritual: Tea 

Colour: Pink 

What’s one thing you can’t live without at the moment? 

Antihistamines (I have been working a lot with flowers)  

Any advice or words of wisdom for other makers out there? 

Just remember that your work never has to be final, and it will change as you learn more about it. If you’re not enjoying what you’re making, change it and keep experimenting. Making things that you enjoy is important. It allows other people to see a voice in your work. 

We are really excited about your upcoming exhibition at Guild, and your workshops later in the year. Can you tell us a bit about these?  

I’m really excited to present work that stems from my sense of place. For me, the work’s is really optimistic and romantic. It’s about finding and preserving the beauty that I find in small moments, and I’m looking forward to bringing these moments to life, and sharing them.  The workshops will be about developing techniques with porcelain, and sharing the techniques I have learnt with others. 

Any other projects or news you want to share?  

I am happy to be working on a collaboration with Seth Searle and am also going to be a part of a group exhibition at Neon Parlour later in the year.   


Peach Bloom by Bec Smith |  8 June – 10 June
Guild of Objects, 690 Queensberry Street, North Melbourne
Please join us for the launch party on Thursday 8 June from 5 – 8pm

Photographs by Bec Smith and Screaming Pixel.

Follow Bec on Instagram.

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Mother's Day Pop-Up | Guild x Flos.Botanical Studio

This year for Mother's Day at Guild we are having a pop-up florist shop by the talented Viv from Flos.Botanical Studio. We have also been lucky enough to get new vases from many of our makers to pair with the flower arrangements, as well as cards, jewellery, scarves, mugs and so much more.

Saturday 13 May | 10am - 5pm
Sunday 14 May | 10am - 2pm
To add to the fun, Lemons Ceramics are launching their playful new BUMP collection in our window the same weekend and it is certainly worth a look and feel - it's hard not to want to pick up these gorgeous pieces!

Come along and grab your Mum a stunning, fresh flower posy and see what else she might love. We have picked some of our favourite pieces for you...

Clockwise from Left | BUMP Vase by Lemons Ceramics (launching 13 May); Olive Pink (Square) Scarf by Edith Rewa; BUMP Vase by Lemons Ceramics; Vase pair by Peta Armstrong; BUMP Vase by Lemons CeramicsPea Time (Square) Scarf by Edith Rewa; three small BUMP Vases by Lemons Ceramics.

From Left | Bag Planter by Takeawei; Small BUMP Vase by Lemons Ceramics (launching 13 May); BUMP Vase by Lemons Ceramics; Loop Vase by Nicolette Johnston; Flower Posey by Flos.Botanical Studio; BUMP Vase by Lemons Ceramics; three small BUMP Vases by Lemons Ceramics.

Clockwise from Left | Small BUMP Vase by Lemons Ceramics (launching 13 May); Cannister #2 by Katia Carletti; Olive Pink (Square) Scarf by Edith Rewa; Hoop Earrings Lilac Peach and Currant by Melanie Rice; Pea Time (Square) Scarf by Edith Rewa; Mismatched Bar Studs by Seb Brown; Desert Dance Pink gift card by Edith Rewa; Nerikomi Small Cup (plum white) by Masan; Silver Earrings No. 6 by Two Hills; Pink Moon Cup with handle by Peta Armstrong; Boob Vase by Takeawei; small BUMP vase by Lemons Ceramics.

Hoop Earrings (Currant) by Melanie Rice; Pea Time (Square) Scarf by Edith Rewa.

Hoop Earrings (Citrus) by Melanie Rice; BUMP Vase by Lemons Ceramics (launching 13 May); Olive Pink (Square) Scarf by Edith Rewa.

Small BUMP Vases by Lemons Ceramics (launching 13 May).


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Maker of the Month - Lemons Ceramics

We've been stocking the work of Lemons Ceramics by James Shaw since he first started selling his wheel thrown pots. It's been a joy to watch the label develop, refine and mature over the last two years. Lemons Ceramics has an organic and sensual feel to it - no two pieces are ever the same. You can feel the human touch in every cup, bowl and vase.

We are launching his new BUMP range at Guild next weekend - aligning with our Mother's Day pop-up. The new collection features pastel, textured hues and soft curves which encourage you to hold the vessels snuggly in your palm. Below we interview James about his practice and preview his new collection...

Can you tell us a little about your self and your practice?

My name is James Shaw, a New Zealander living in Melbourne since 2012. I started making ceramics under the name Lemons Ceramics two years ago. My work is simple and organic in form, playful and expressive. At the moment I work at Cone11 as a studio tech, study and try to dedicate as much as I can to Lemons. I work and live in Coburg in reach of the incredible Gnocchi from Dicey’s (they haven’t paid me to write that I just really love their pasta).

When and how did you first get started in ceramics?

I was taught the basics a couple of years back by my partner at the time. I knew I had an interest for it years ago before I moved countries but never committed to anything. It’s pretty bizarre sometimes when I think about it now.

Can you describe those early days?

They were investigative, emotional and igniting. The birth of an object from mud and your hands is crazy rewarding. I’ve always been curious and tentative towards textures. Tactility and the hands on nature of clay makes working with the material so enjoyable. I remember making the first pot by myself without any help and it was just so satisfying.

What has the journey been like since those early days?

It’s been a pretty weird and wild one. A lot of hard work, a lot of investment - financially, physically, mentally - a lot of incredible people, a lot of stress, and a lot of enjoyment. I try to take every day as it comes and just focus on making work and developing my skills and knowledge. It’s hard when you’re not always motivated to work, but I’ve learned to push through and keep focused and excited about what I’m doing next.

Can you give us some insight into your creative process and where you draw inspiration from?

Everyday for me is a little different. But my days are torn between throwing, uni, work and all the other bits and bobs you do with a small business. Plus drinking a lot of coffee and eating a lot of food. I love cooking, it relaxes me and I love a challenge of making something different and delicious.

What are you...


I’m stuck in a uni headspace, so at the moment a whole bunch of essays and articles about Colonisation and Art. I’ve just read Anthony Byrt’s This Model World which discusses some really interesting New Zealand Contemporary artists and their practises.

...listening to?

I’m always listening to ABC radio, I have a big crush on Jon Faine. 


I refuse to watch anything that doesn’t have dragons and white walkers in it.

Can you tell us the first thing that pops into your mind when we mention the word …

Breakfast: toast

Weekends: a myth

People: people needing people

Pause: that amazing crazy radio in Bananas and Pyjamas from the 90s

Sound: little boom speaker next to me

Smell: pasta

Place: forest

Texture: rough

Ritual: toothbrush

Colour: blue

What’s one thing you can’t live without at the moment?

Embarrassingly 4G on my phone…I’ve got to get a new phone asap

Any advice or words of wisdom for other makers out there?

Go see and make as much art as you can and talk to people about what they love doing and why.

Photos by Rob Corica and James Shaw.

Follow Lemons Ceramics on Instagram. View Lemons Ceramics range at Guild.


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Maker of the Month - Linsey Rendell

Linsey Rendell is one of those people that has many projects on the boil and always has interesting stories to tell about her adventures. We first met Linsey when she came into Guild to shoot and write an article for Broadsheet. She was warm and friendly and knew how to make as feel comfortable in-front of her lense - we instantly liked her. Since then she has done many of our product photoshoots for our website and newsletters. Each time she manages to produce beautiful results with limited resources. 

Linsey is teaching a 'Photography for Ceramicists and Makers' class at Guild on Saturday 29 April where students can learn basic lighting and editing skills to get professional looking product photos for web and print marketing. There are two places left for this hands-on class, so jump onto our website and book yourself a spot.

Below we showcase some of the lovely images Linsey has taken for us, and we ask her about photography and life...

Can you tell us a little about yourself and your practice? 

I’m a freelance writer and photographer. My stories generally explore ideas within food culture, farming and design, nurturing further conversations across sustainability and social and environmental change. These days, I find most of my ‘freelance time’ is spent producing Broadsheet’s travel stories, and writing and shooting for Peppermint Magazine. My Peppermint stories mosey from profiles of Melbourne ceramicists, shoemakers and fashion designers to features on farmers, social activists and environmental issues. I also work behind the bar at Market Lane and run their social media accounts, and occasionally play assistant to other photographers. My ‘studio’ is essentially a combination of my flat in Kensington and cafes (Long Street Coffee is a favourite) and bars (Clever Polly’s, Sunmoth, Neighbourhood Wine) for a change of scenery. 

When and how did you first get started in photography?

I was lucky enough to have photography as a subject in high school. Back then it was all film-based photography and we shot everything in black-and-white and developed it ourselves in the darkroom. We only started to play with digital SLRs right at the end of year 12. So I learnt the basics—line, composition, light direction, exposure—slowly, making each click of the shutter count. After I finished my journalism undergraduate degree, I took night classes at the Brisbane College of Photography and Art to upskill my manual SLR knowledge to the digital realm, along with learning to edit in Photoshop. My mum kindly gifted me a Canon 1000D when I was 22, and I used it tirelessly that year. I quickly outgrew that base model, and upgraded to a 7D the following year. That body was my sturdy companion for five years, until a friend recently sold me his 5D. It’s been a very slow progression to build up to this point—it’s an expensive passion to pursue!  

What has the journey been like since those early days? 

In my honours year, I created a magazine from scratch, completing all of the writing and photography, so I could bring these to disparate skills of mine together on a page. That project landed me a job editing a weekly digital publication in Brisbane, where I continued to both write and shoot for three years. This was a very fast-paced environment, so I learnt to shoot quickly and efficiently. In my mind the work was merely ‘good enough’, but my ‘good enough’, luckily, was impressive to others. I shot portraits, interiors and food, and developed the beginnings of what I suppose is my editorial style. Since moving to Victoria and becoming a freelancer, I’ve tried to push myself to slow down and consider each shot, but it’s something I struggle with constantly, especially when time is limited. I still shoot food, interiors and portraits, but I love shooting landscapes and nature. I produce a lot of travel stories, so I’m lucky to get out to national parks and coastal regions regularly. I’m trying to train my eye to pay closer attention to light and shadow and lines and shapes, and to make pictures out of these tiny moments.  

What does a typical day look like for you?  

Each day starts with making coffee at home for myself and my partner. Breakfast is really important—I can’t eat gluten or dairy and I’m predominantly vegetarian, so eating a nourishing meal in the morning keeps me sustained throughout the day. If I’m heading out on the road for stories, I’ll be photographing various venues all day and meeting people and hearing their stories. Then when I return to the city, I’ll spend one or two days writing up the words component of the story, and one day editing the photos. I try to make a dance class every Monday evening, and Melbourne Cinématèque on Wednesdays, but it’s not always possible. I definitely find I have more headspace and feel physically more able when I’m practising yoga, but life has been rather upturned of late and I’m still trying to re-find rhythm and space for these important rituals.  


What are you...

ReadingKrista Tippett’s Becoming Wise: An Inquiry into the Mystery and Art of Living, and Bruce Pascoe’s Earth.

Listening to? Podcasts! Namely Design Matters with Debbie Millman, 99% Invisible, Hidden Brain, On Being with Krista Tippet, Longform and Memory Palace. 

Watching? The intriguing and obscure films screened at Melbourne Cinématèque  


Can you tell us the first thing that pops into your mind when we mention the word 

Breakfast: Miso, avocado, kimchi and eggs 

Weekends: Slow mornings, natural wine evenings  

People: Community  

Pause: Sunset 

Sound: Jazz in the morning 

Smell: The salty ocean 

Place: Anywhere good friends are  

Texture: Linen 

Ritual: Morning coffee 

Colour: Indigo  


Any advice or words of wisdom for other makers out there? 

You can be angry at the system, or you can get inside the system, and change things from the inside out. "The best way to complain is to make something" ~ Seth Godin on Design Matters. 

I’m an optimist and my partner is a realist, which is helpful in balancing out each other’s strong opinions. But everyone needs hope. Hope is what creates change. “It’s much more radical, much more daring and much more dangerous to hope" ~ Mary Karr. 

We are really excited about your upcoming workshop at Guild, can you tell us a bit about it?  

The workshop is designed to give ceramicists and makers a few insights and skills to up their own photography, so they can shoot their products and improve the look and feel of their websites and social media accounts. Hiring a photographer can be expensive, and when we’re all following our dreams and just scrapping by, there usually isn’t money around for investing in really polished imagery. So the workshop will allow makers to do-it-themselves. I’ve done trades with ceramicists in the past when they have a whole collection they’d like to shoot. But sometimes you just need one or two images to submit a proposal for an exhibition or promote a studio sale. After the workshop, makers will feel confident that they can produce these images on their own.  

Any other projects or news you want to share?  

My partner Björn, his brother Sascha and I also produce a journal called Scrag End. It sits within the food culture and food futures space, but mostly we just love telling people’s stories and pairing these with beautiful imagery and film. It’s predominantly a print publication, but printing a magazine off your own back is expensive. So we redesigned the website to turn it into a space where we could continue to publish stories even if we don’t have the money to put them on a printed page. There are a couple up there now, and we’re hoping to add more very soon (yet another ‘spare time’ project!) Take a look:


Photography by Linsey Rendell

You can follow Linsey on all her adventures via Instagram

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Edith Rewa | Launch Party


Thankyou everyone who coming along last night and made the launch of Edith Rewa's 'Field Trip' collection a cracking success. We took some photos of the party so you can feel the fun vibe even if you weren't there.

The work looks absolutely beautiful and is still on display until Saturday 1 April | 12noon.

Edith's scarves and prints from the collection are now available to purchase online or in-store.



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Edith Rewa x Guild Exclusive Prints

We are pretty excited to announce that two of Edith Rewa's 'Field Trip' prints will be exclusive to Guild - her Macrocarpa illustration in black & white and in colour.

In the lead up to Edith's launch party we are giving you the chance to win one of these exclusive A3 prints. Head over to our Instagram page and repost your favourite version of Marcocarpa - black & white version or colour. Mention the #fieldtripbyedithrewa launch party and the #edithxguild exclusive print. Remember to tag us @guildofobjects so we can enter you into the comp.

The winner will be announced on Thursday 30 March on Instagram - we hope you can make it to the launch party to have your pic taken with Edith!

Edith Rewa | Field Trip
Thursday 30 March | 5pm - 8pm
Guild of Objects | 690 Queensberry Street, North Melbourne

Read more about Edith Rewa and her new collection here...

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