Exhibitions

Two lattice vessels, Big Jasper and its smaller partner.

“Within us all, two states co-exist in constant motion: the stretched and the relieved, the inhale and the exhale. They are simply what it means to breathe, and therefore to be alive. These two vessels give form to both.”

The Kunji lamps, named for a word Tantri’s family used for an unmistakable feeling of blissful coziness. It was only much later that she realised it wasn’t a real word at all. Stoneware, glaze, natural sheepskin and brass.

Two pieces: the Panas vessel and the Golden Ukiran Bunga Vessel. Panas means hot in Indonesian. Its red-hot Nerikomi clay is wrapped in gold-lustred flames, after the place of fire in Balinese culture: purification, transformation, a meeting point between the human and the spiritual.

A floor lamp built as a stack of carved and lustred ceramic forms under a fringed shade, made as an exhibition piece.

A group show of candlesticks and candelabras in ceramics, metal, glass and wood, about the moments a flame is lit: birthdays, dinner parties, religious ceremonies. Tantri made candle sconces for the wall in stoneware and gold lustre. Unfurled follows a flower through its stages of bloom, from early bud to ripened; checkered and star flower sconces hung alongside.

Backwoods Gallery’s annual show of women artists. Tantri showed It’s already written in the stars, the collection that marked her move from production pottery to slower, more technically complex work. Its title is a phrase from her mother: “It’s already written in the stars my girl.” Star-covered vessels, an oval wall piece and a gold lustre lamp, She’s going to be very bright.

The beginning of the Ukiran collection: Tantri’s first carved work, and her first time looking deliberately at Balinese heritage through clay. At its centre was the Rangda vase.

Hand-built vessels with marbled clay detail from the Marmoreal collection, shown alongside Ella Reweti.

Ten artists transformed discarded archaeological fragments from the Metro Tunnel dig sites: burnt, fired, melted down and reimagined.

A collaborative installation with textile designer Megan McNeill in Tantri’s studio at Collingwood Yards, reimagining a home with dreamlike qualities. Hand-tufted rugs and upholstery met marbled ceramic surfaces across a kidney chair, a hex footstool, plinths, vases, candle holders and a stacked floor lamp in gold lustre.

Vessels and ceramic jewellery in clays coloured after stone: striped onyx, banded agate, lapis lazuli, mother of pearl, many finished with gold lustre.

Terrazzo vessels from the early years of the practice.

Glenn Barkley asked artists to reconsider the curiosity: a common stone or shell set in elaborate mounts, prized in the European Wunderkammer and bound up with colonial ownership of the world. Tantri’s vessels are inlaid with coloured clay and gold lustre, some wrapped in gold serpents, each raised on a stand.