Throughout the last five years I have been creating a series of artworks exploring my life as a menopausal woman, reflecting on 38 years of fertility coming to an end. In Flesh and Blood, bed linen, scarves, dresses and human hair have all been reworked and repurposed. The intimate female connection to these materials was a conscious choice as they hold memories and lived experiences within their fabric. Since experiencing menopause my hair has been falling out at a great rate of knots. I have been ritualistically rolling them into balls and collecting these samples of my DNA. I felt compelled to include my hair balls in Flesh and Blood as a tangible link to my past and they are also a powerful symbol of my current identity as an aging woman.
When judging the 2025 Moreton Bay Art Prize, I looked for artworks that demonstrated 1) high technical quality, 2) conceptual rigor, and 3) sincerity. Blair Garland’s Flesh and Blood clearly meets all three. Made from bed linens, scarves, dresses, and the artist’s own hair, Garland transforms deeply personal materials into a meditation on memory, aging, and identity. The inclusion of her DNA gives the work an intimate, powerful presence; an earnest and unflinching assertion of self. Technically, the work is equally impressive. The labour involved in weaving, knitting, and assembling is evident in every detail. This is an artwork that speaks both emotionally and materially. Congratulations to Blair Garland on this outstanding artistic achievement.
Image credit: Blair Garland, Flesh and Blood (2025), human hair, fabric, cotton, jute and wool. Image courtesy of Embellysh Photography.
This very personal piece was made by me in response to a feeling of self doubt that arose for me at midlife. I had been so devoted to my family for decades and for the first time in my life I felt very unsure of my place in the world. I felt like I had spent years putting my life on hold for other people and I was constantly being asked who I was going to become when my kids left home? I had never made a ceramic piece that looked like delicate fabric and it was incredibly challenging. I had many versions crack in the kiln. At a time of internal struggle, it was a reminder that I can still do hard things.
Michelle Spencer’s artwork Where Did She Go? is a highly personal and evocative artwork that blends technical skill with authenticity. Working in porcelain, Spencer pushes the “fabric” of ceramic to its limits. The discarded undergarments are not only beautiful objects, but symbols of resilience and reinvention. Where Did She Go?, while highly personal to the artist, speaks to a broader audience who have long prioritised the needs of others over their own. This is supported and enhanced by Spencer’s essay which further contextualizes her work. In short, Where Did She Go? stands out for its emotional depth, technical expertise, and vulnerability. Congratulations Michelle Spencer.
Image credit: Michelle Spencer, Where Did She Go? (2024), porcelain and accompanying essay. Image courtesy of Embellysh Photography.
This acrylic painting is a portrait of local Moreton Bay farmer, Sarah Heath of Basilea Living Herbs and Edible Flowers. Sarah’s work with edible flowers and herbs is not just an occupation—it is a way of life, deeply rooted in ecological awareness and community nourishment. The surrounding vegetation consists entirely of the flowers she cultivates, reflecting both her extensive botanical knowledge and her enthusiasm to share with the wider community. I aimed to capture the overflowing abundance of nature that Sarah works with daily, expressing the happiness and joy she spreads through her dedication to Basilea. Nature is not separate from Sarah; it is fundamental to her identity. The flowers in this work carry deeper meaning, symbolising life cycles, motherhood, nurturing, and the feminine. Echoing the way she cultivates both plants and connections within her community. This piece forms part of a broader inquiry into the interconnectedness between humans and the natural world. It celebrates nature not just as landscape, but as lived experience and personal philosophy.
Rachel South’s acrylic portrait of local farmer Sarah Heath of Basilea Living Herbs and Edible Flowers is commendable for its local relevance, likeness and creativity. The artist’s detailed rendering and thoughtful composition captures Sarah’s enthusiasm for the natural world and the joy she brings to her community through her work. The flowers are not just decoration; they symbolise cycles of life and care. Congratulations to Rachel South on a deeply moving and technically accomplished work.
Image credit: Rachel South, Basilea (2024), acrylic and enamel on canvas. Image courtesy of Embellysh Photography.
After walking along the local estuaries of Beachmere, Moreton Bay, post storm surge, I observed and photographed so much frothy foam. Soft, enticing and also slightly sickly looking. This foam is a result of a bacterial smoothie of Nocardia, that thrives when there is a high load of fats and grease from storm water runoff,as well as warm waters that make the survival rate of Nocardia increase, as discussed by Ipek Kurtböke, UniSc News, 2025. The bacteria can cause skin, lung and central nervous system infections, so it's really not worth frolicking in. This artwork aims to show both the sublime and the perilous nature of the tidal areas of Moreton Bay, and the importance of sustained environmental management.
Image credit: Fiona Endermann, Nocardia Smoothies on the Beach (2025), oils, photograph, wax, Japanese rice paper. Image courtesy of the artist.
Distilled was created by stripping back the unwanted, distilling the essence of the form, only keeping the important and necessary parts. The manipulation of clay was fluid, I hold no preconceived restraints when creating my distilled forms. The flow state achieved is reflected in the uniqueness and movement within the pieces. Surface texture is an important feature of the finish, the repetitive hammered texture enhances the organic nature of the vessel. A tactile finish, moody with deep black and metallic highlights. My goal is to inspire those that view my work to look closely and discover beauty in the simplicity of form and texture.
Distilled stands out for its exceptional execution and refined aesthetic sensibility. The artist demonstrates a masterful command of form, stripping the vessel back to its essence while maintaining a strong visual and tactile presence. Krumm has sculpted a shape that is deliberate yet organic, embodying both restraint and fluidity. The surface treatment and glazing are both particularly striking, enhancing the artwork’s geological character. The vessel’s texture rewards close viewing, drawing attention to the nuanced craftsmanship involved – congratulations Belinda Krumm.
Image credit: Belinda Krumm, Distilled (2024), raku fired ceramic form. Image courtesy of Embellysh Photography.
Where do you feel the pain inside your body, where does the pain hide? Mental health does not just affect the brain it can affect the whole body. When dealing with it you can experience pain in your body. It can get stored in your body for years. Emotional trauma does not just affect the brain, it can affect the whole body. When you go through the process of healing it really helps sitting with your body to work out what it's trying to say and learn how your mind interacts with your body.
Hidden Pain is a deeply vulnerable exploration of the way emotional trauma and mental health struggles manifest in the body. It considers pain not just as a psychological experience, but as something felt, stored, and carried physically. What makes this work especially deserving of recognition is the artist’s willingness to confront personal pain with honesty and openness. I value the imperfect, evocative and sincere nature of the work – congratulations Joanne Braddy.
Image credit: Joanne Braddy, Hidden Pain (2025), stoneware clay. Image courtesy of Embellysh Photography.
Hill Painting grasses burnt rocks loosen, hill climbs steep – cutting ancient lines Fragmented panels mirror a shifting perception - the land is not static, but living and changing. Gesture and colour are used to convey the pulse of the land and its hidden paths.
Hill offers a nuanced interpretation of landscape that is universal and transient. The fragmented panels and gestural marks suggest a place in motion, shaped by time, memory, and perception. It resists specificity, and that ambiguity invites prolonged viewing. Technically, the work is of exceptional quality. The translucent layers of paint allow light to permeate the surface, creating a sense of atmosphere and depth. The treatment of colour is subtle, and overall the artwork stands out for its painterly sophistication. Congratulations John Robinson.
Image credit: John A. Robinson, Hill (2025), oils on wood. Image courtesy of Embellysh Photography.
Listen to the wisdom of the Ancients That connect Man with Mother Earth The land, the sea and sky Feel the season The heat of late spring is rising Read the stars The Southern Cross is sitting low on the horizon Look at the trees The Quandong is bursting into fringed bell blooms And only for a short time These are the signs from the Ancient Ones That it is time to hunt for rays For they are fat and plenty Watch for flutters at the water's edge & The pitting in the mangrove shallows Ready your spear to Take only what you need And no more Remember you are not the only ones that hunt the rays
Linda Smith’s Hunting Time is a painting that reflects on Indigenous knowledge systems, particularly those connected to seasonal change. The delicately rendered stars, sharks, rays, and quandong serve as a reminder that First Nations knowledge is grounded in deep observation and respect for the natural world, offering sustainable ways of living. Smith’s work asks viewers to pause, listen to the signs of nature, and act with care and restraint. Congratulations to Linda Smith.
Image credit: Linda Smith (Penangke), Hunting Time (2024), acrylic on canvas. Image courtesy of Embellysh Photography.
Many family meals have been shared on this tablecloth that Lucie found in her mother's cupboard. Its stains are vivid proof of lively conversations, and they mark moments when time stood still. Lucie's mother's embroidery threads have been used to illustrate words travelling across the table. The stitches remain mute around the stains. This laborious work reflects time spent, sitting down in contemplation. This process created a connection with her mother, who was living in a nursing home, sitting long hours at a table, letting time pass. On her mother's 90th birthday, the table was adorned with this stitched cloth, and new spills were intentionally created to bridge the past with the present. Exactly one week after her birthday, Lucie's mother passed away.
This artwork is a deeply moving and intimate meditation on memory, time, and connection. At its heart Lucie Verhelst’s textile is a simple domestic object — a stained tablecloth —transformed through embroidery into an object of remembrance. Technically, the work is subtle and meticulous, and conceptually it is rich in symbolism. This is a tender, beautifully considered artwork that lingers long after viewing. Congratulations Lucie Verhelst.
Image credit: Lucie Verhelst, Stored (2024), vintage cloth and threads. Image courtesy of Embellysh Photography.
Madeline Brewer is Curator at The Condensery, a regional contemporary art gallery on Dungibara Country in the Somerset region. Her curatorial focus often adopts a critical lens of place, including analysis of architectural, industrial and agricultural histories. Previously Madeline has worked in roles at Flying Arts Alliance Inc, Rockhampton Art Gallery, National Gallery of Australia and National Museum of Australia.