1 to 25 May 2019

The works in Interstitial describe a concomitant charge; this curated collection of ceramic forms is quietly electric. Brought together on the occasion of the 2019 Ceramics Triennial, Interstitial showcases four artist's inimitable dedication to precision, and deep intuition for affective relations. The title of the show came through the artists conversations with Tasmanian Museum & Art Gallery Senior Curator of Decorative Arts, Peter Hughes. Hughes points us toward the in-between spaces where exquisite objects and tableaux come alive through precipitous proximity. Interstices is an unfolding of spaces so sleight that only light falls between. Troublesome, anxious and playful hierarchies delicately manifest in still life’s that seem always on the edge of animation— elegant abstraction plays against humble function, there is patience, quiet and then the shock of an impossible tilt.


Kelly Austin is a ceramic artist born in Vancouver, Canada and living in Tasmania. She completed her Bachelor of General Fine Arts from the Emily Carr University in Vancouver in 2011 and her Master of Philosophy in Ceramics from the Australia National University, Canberra in 2016.

Austin’s work has been exhibited in curated exhibitions across Australia, Canada and The United States of America. In 2015, her work was selected for The City of Hobart Art Prize exhibition in Tasmania and in 2017, it was exhibited in Still, National Still Life Award Exhibition at the Coffs Harbour Regional Gallery. In 2018, her work was included in two award exhibitions in Australia; Hutchin’s Australian Contemporary Art Prize and The Churchie National Emerging Art Prize.

Austin’s work is held in private and public collections in Australia, Canada and the US, including The Tasmanian Museum and Art Gallery and the Coff’s Harbour Regional Gallery.


Patsy Hely is an artist working predominately in the ceramic medium. Her work is held in many collections including the Victoria & Albert Museum, London, the National Gallery of Australia and the Powerhouse Museum.

She worked as an academic from 1989 – 2014, most recently at the ANU School of Art where she convened the Honours and Graduate Coursework programs and where she is currently an Emeritus Fellow. Her practice also encompasses writing and curating, with essays published in national and international publications. Currently she works as an independent artist and writer.


In 2018 Coelho was featured in the Adelaide Biennial of Australian Art: Divided Worlds curated by Erica Green. In 2015 Coelho was honoured with a solo exhibition at Drill Hall Gallery at the Australian National University and the Newcastle Art Gallery NSW, and undertook an invitation only Residency at Tweed Regional Gallery. In 2016, Tweed Regional Gallery held a solo exhibition of the works Coelho created during her residency. Coelho holds a Master of Visual Arts. Her work has been exhibited internationally at Art Basel Hong Kong with THIS IS NO FANTASY, Adrian Sassoon London, the Scottish Gallery UK, Ann Linnemann Studio Gallery Denmark and Matin Gallery LA.

Her work is represented in numerous institutional collections including the National Gallery of Australia, Art Gallery of Western Australia, Art Gallery of South Australia and Queensland Art Gallery/Gallery of Modern Art, Chatsworth House UK and the Boymans Van Beuningen Stichting Museum NDL. In addition to winning the City of Hobart Art Prize in 2015, Coelho has also won the Sidney Myer Ceramic Award 2012, and was a recipient of the Josephine Ulrick Ceramic Award in 2005.

Kirsten Coelho is represented by Philip Bacon Galleries QLD and Adrian Sassoon UK.


Belinda Winkler is a sculptor, ceramist and object designer. Within her multidisciplinary practice, she works across a diverse range of media and scales, from porcelain through to fibreglass, steel, bronze, Lycra and concrete and from intimately scaled vessel forms through to architectural installations and large-scale public art commissions.

Belinda’s art and research practice is focused on an exploration of the evocative nature of the curve under tension. Her visually dynamic curves are created through the stress forces of tension, compression, torsion and bending. These particular curves hold a certain ambiguity and mystery. While abstract, they invite associations beyond the visual and the intellectual. They are evocative, and thus have the potential to generate identifications and connections, both sensually and aesthetically. They tempt touch, be that with the eyes, the hands, the memory or the imagination.

A recurring thread within Belinda’s work is the relationship between forms, where curve almost meets curve, nearly, but not quite touching, creating a spatial tension, charged with anticipation.

Kelly Austin


Kelly Austin


Kelly Austin


Kelly Austin


Kelly Austin


Patsy Hely


Patsy Hely


Patsy Hely


Patsy Hely


Kirsten Coelho


Kirsten Coelho


Kirsten Coelho


Kirsten Coelho


Kirsten Coelho


Belinda Winkler


Belinda Winkler

cat.16 - SOLD

Belinda Winkler

cat.17 - SOLD

Belinda Winkler


Belinda Winkler

cat.19 - SOLD



Interstices are the gaps between things – there are interstitial spaces in our bodies, in the molecular structure of matter and in deep space. Both spatial and temporal, the concept often embraces those phenomena and those moments not assigned a place in the order of things.

The word conjures textbook images of atoms stacked in the regular three-dimensional grids of crystalline structures. All the hard, tiny particles that the world is made from, each complete in itself and forever alone, despite its proximity to others. 

Such images have their origins in Newtonian physics and have been extended to the structure of the solar system – a clockwork mechanism of spheres moving frictionless through a perfect vacuum. They have also served to describe human societies as collections of alienated individuals acting according to calculations of rational self-interest.

Such models have been undermined by post-Newtonian developments in physics and by alternative understandings of how the human mind operates. Things have become much fuzzier and the hard line between object and object, object and space and between object and being has begun to dissolve. Contemporary thought suggests a self that is highly contextual, a knot at the intersection of histories natural and unnatural, objects, technologies and other beings. It suggests not a world of instruments to command and discard, but an inseparable and evolving interpenetration of self and object and world.

The works in this exhibition speak to this shift in thought. A shift in which “things” are no longer lifeless instruments or remnants. Rather, they are our fellow travellers, making us as we make them, or as we attempt to make something of them.

Peter Hughes
Senior Curator (Decorative Arts) Tasmanian Museum and Art Gallery

No image on this site may be reproduced in any way without prior permission from the artist or poet.
Please contact Bett Gallery on +61 3 6231 6511

All prices on this site in Australian Dollars unless otherwise indicated
We pack and freight to anywhere in the world >email or call us for a quote (+61 3 6231 6511)
All major credit cards accepted