Sophia Nuske is a ceramic artist based at JamFactory Contemporary Craft & Design, Adelaide. Completing Honours in 2013 at the University of South Australia gave Nuske the opportunity to develop her ceramic work in a sculptural installation context. In 2014 she exhibited in the Helpmann Graduate Exhibition and through this was awarded the Adelaide City Council Acquisitive Prize. Later that year, Nuske went to The Pottery Workshop Jingdezhen, China for 6 weeks as part of Helpmann Academy’s residency program. In 2015 Nuske completed a 5 week mentorship with artist Stephen Bird at Gimhae Clayarch Museum in South Korea, through the Beyond Limitations mentoring program organised by ceramicist Vipoo Srivilasa. She also exhibited a significant body of work for a solo exhibition in the project space at Hugo Michell Gallery. In 2016, Nuske undertook children's workshops through Carclew's Pompom program, taught at AC Arts, and also at JamFactory through Central School of Art. She also exhibited in group shows at JamFactory, Central School of Art, and at Ann Linnemann Studio Gallery in Denmark, Copenhagen. 

This year Nuske will continue to work from her studio at the JamFactory, developing sculptural/installation exhibition work, and adding to her product range available for purchase in JamFactory retail outlets.

For more information, have a look at the artist profile published in Adelaide Review.

  Pencil , 2013, life-size, hand built stoneware, acrylic paint. Photo: Michal Kluvanek.

Pencil, 2013, life-size, hand built stoneware, acrylic paint. Photo: Michal Kluvanek.


Nuske invites the viewer to refocus their attention on common, overlooked manmade objects. By playing with the inherent language of these things, humorous juxtapositions of ideas are created, guided by wordplay. Her subtly altered objects which have been hand modelled out of clay, are then resituated amongst drawn tableau settings on the gallery walls and plinths, mimicking the original context of the object to create sculptural installations bridging the gap between two and three dimensional representation. A level of realism is achieved through carefully fine-tuning a tool kit of visual cues, referencing trompe l’oeil super objects of the 70’s and 80’s. The humour found both in lingual and visual puns, as well as the graphic or cartoon-like appearance of the work reinforces the playful quality underpinning Nuske's practice. Through these installations, Nuske questions: How do these common objects affect our daily rituals? What sentimental value do we imbue in them? And what happens when their function is subverted? Ultimately the viewer is invited to renegotiate their surroundings and how they engage with objects of the everyday.