Current Exhibition

Ingrid Burkett —
Feathers and Fingerprints

Mar 27 – Apr 5, 2025

About the Artist      

One porcelain pinch-pot. One bird painting. Everyday, for a year.

In 2024, I embarked on a daily practice—part deep dive into artistic process, part meditation, part activism—that led to a flock of 365 Australian birds.

I chose a simple yet profound form: the humble pinch-pot, an ancient ceramic practice that intimately connects the maker with the medium. Shaped between the fingers, the form emerges through the pressure of touch, with fingerprints remaining in the clay as a trace of the maker.

Porcelain became my canvas, its fragility and translucency mirroring the precarious future of so many of the birds I depicted. These tiny, unglazed pots, bearing fingerprints, scarring, and rough edges, reflect the growing impact of human activity on bird habitats. Land clearing and unchecked development have driven many species to the brink of extinction. Each pot and portrait is my way of confronting this unfolding loss—of species that exist nowhere else on Earth. Through this act of making, I wrestle with my own place in this crisis and hope to spark conversations about how we can change course. 

This daily ritual was an exercise in deep learning, meditative reflection, and an evolving way of seeing. I chose to paint bird portraits because I wanted to meet my subjects eye to eye, to commune with them directly. Over the year, my practice evolved—you can see it in the portraits, in the growing detail, and in the depth of understanding reflected in the works. After 365 birds, I know I am only just beginning to truly see my muses.


OPENING NIGHT EVENT

We hope you can join us from 6 pm on Thursday, 27 March, at Side Gallery to celebrate the opening of Feathers and Fingerprints by Ingrid Burkett. We will commence the evening with an artist in-conversation with curator Laura Brinin at 6 pm.

All sales proceeds from the exhibition Feathers + Fingerprints will be donated to ‘Birdlife Southern Queensland’ to continue to support their conservation efforts!

Artwork Notes

“In an era of ecological uncertainty, art can serve as both witness and catalyst—a means of honouring what is at risk and inspiring action to protect it.” — Ingrid Burkett

A YEAR OF BIRDS, A YEAR OF REFLECTION

In 2024, I set out on a year-long artistic journey—one that became an exploration of environmental grief, quiet protest, and meditative practice. Every day, I shaped a small porcelain pinch pot and painted or scratched the image of a bird onto its surface, creating a flock of 365 Australian birds over the course of the year. What began as a daily discipline soon became a deeply personal exploration of the intersection between art, nature, and human responsibility.

THE ARTISTIC PROCESS: A MEDITATION ON NATURE In a world increasingly detached from the rhythms of the natural environment, I sought to slow down and truly observe the world around me. By focusing on a single bird each day, I engaged in an ongoing dialogue with the land, its inhabitants, and my own evolving understanding of the fragile ecosystems we share. Through this repetitive, intentional act, I discovered that art has the power not only to document and bear witness but also to transform the way we see and respond to the world.

At the core of this project is the pinch pot—one of the most ancient and fundamental ceramic forms, requiring only the hands, the clay, and the simple act of shaping. This technique invites an intimate connection with the material, as the clay carries the imprint of each touch, recording every movement and decision. Unlike wheel-thrown ceramics, which can create precise symmetry and control, the pinch pot retains a rawness that mirrors the organic, unpredictable nature of life itself.

In leaving each pot unglazed, I allow its rough edges and imperfections to remain visible, much like the scars left on the landscape by human intervention. Each vessel, fragile yet resilient, became a metaphor for the birds depicted upon it—creatures navigating a world increasingly altered by habitat destruction, climate change, and human encroachment. By firing only once and using underglaze without a protective coating, I minimised energy consumption, aligning the process itself with the environmental message of the work.

The use of sgraffito—a technique that involves scratching through underglaze to reveal the lighter clay beneath—added another layer of meaning. This method of carving away at the surface is both an act of creation and erosion, mirroring the delicate balance between presence and loss that defines our relationship with the natural world. Each etched line became a way of paying attention, a way of acknowledging the intricate relationships between species and their habitats.

As the year progressed, the ritual of shaping, painting, and scratching became more than a technique; it became a meditation. The process of observing a bird closely enough to render its likeness deepened my appreciation for its form, behaviour, and character. In turn, I hoped that viewers would also pause—if only for a moment—to consider the beauty and vulnerability of these creatures.

EVOLUTION OF PRACTICE AND CONNECTION

At the outset of this project, I imagined it as a discipline in endurance and observation, but I had not anticipated the depth of connection it would foster. As I created, I found myself not only learning about each species—its habits, markings, and ecological role—but also developing a profound emotional attachment to the birds themselves. The more I observed, the more I saw: the tension in a wing before flight, the intelligence in a gaze, the delicate interplay of feather patterns. This deepened attention transformed the way I experienced my surroundings. I became more attuned to the calls of birds outside my window, the shifting seasons, the silent presence of species that too often go unnoticed. The practice of daily making led to a heightened awareness—one that extended beyond the studio and into the world around me.

While most of the birds depicted in this collection are native to Australia, a few ‘visiting’ species—often known by other names elsewhere—found their way into the flock (which a few of the Twitchers amongst you may notice!). These migratory figures serve as reminders of the interconnectedness of ecosystems across borders, emphasising that conservation is not a local issue but a global imperative.

At its core, this project is both a celebration and a lament—a tribute to the astonishing beauty of Australian birdlife and a quiet protest against the forces that endanger it. It is impossible to create 365 images of birds without confronting the reality of habitat destruction, species decline, and the broader ecological crisis unfolding across the planet. In an age of mass extinction, to depict birds is, in some sense, to document what we stand to lose. But rather than focusing solely on grief, I wanted to create a space for contemplation, reverence, and responsibility. The act of seeing—truly seeing—became a form of care, and in turn, an invitation for others to care as well.

Each small pot is an offering: a reminder that art has the power to shift perspectives, to slow us down, to make us more aware of the fragile wonder that surrounds us. By presenting this flock as a whole, I hope to evoke both the abundance and the vulnerability of the natural world, encouraging viewers to consider how their own actions—however small—contribute to the larger ecological narrative.

My practice has been shaped by many artists who have explored the entanglements between people, place, and planet. I am especially grateful to those who have influenced this project more directly—artists whose work speaks to the power of close observation, deep engagement, and reverence for the natural world.

I was fortunate to learn from Shannon Garson, whose expertise in porcelain and underglaze expanded my understanding of the material and its expressive possibilities. Dianne Peach, through her classes at BIA, has patiently nurtured my long-standing fascination with bird forms, generously sharing her deep knowledge of ceramics.

Other artists working with nature-inspired forms continue to inspire me: Sarah Rayner, with her exquisitely detailed porcelain plant and seed sculptures, reminds me to slow down and look more closely. Jane Du Rand, whose ceramic birds and frogs encourage me to persist in my own explorations of avian forms. Bridget Farmer and Kate Gorringe-Smith, printmakers whose gentle activism around bird conservation resonates deeply with my own concerns.

I am also deeply connected to my fellow mountain artists—those who have shared space, ideas, and creative energy with me over the years. Through Upatree Arts Cooperative, I have been inspired by the work of Rhonda Clark, Robert Lachowicz, Kristina Sinclair, Nerina Barnes, Jason Falcongreen, Ross Carew, George Valenti. More recently, in Range Made Collective, I have found creative kinship with Kylie Bickle and Venus Ganis.

And of course, my family has been a constant source of encouragement: my sisters, Greta Burkett (who introduced me to Side Gallery) and Ellen Burkett, and my parents, Heide and Graeme, who have always supported a creative life. Closest to home, my partner, Robert Lachowicz, remains my greatest collaborator in the ongoing exploration of what it means to respond creatively to the world.

As this year-long journey comes to an end, I am reminded that true seeing is a lifelong process. The flock of birds that has emerged from this daily ritual is not merely a collection of artworks but a testament to the power of consistent practice, reflection, and care.

In an era of ecological uncertainty, art can serve as both witness and catalyst—a means of honouring what is at risk and inspiring action to protect it. Through this project, I hope to encourage others to cultivate a deeper relationship with the natural world, to recognise the beauty in what is close at hand, and to join in the quiet but urgent call to preserve our shared habitat. After all, the first step toward conservation is attention. And attention, when sustained, can become a form of love.

— Ingrid Burkett

About the Artist

Ingrid Burkett

Ingrid Burkett is a 3D mixed-media artist who uses art as a tool for understanding and transformation. With a background in graphic design, her work retains a strong graphic quality, blending artistic precision with the craftsmanship of making. Her choice of mediums is rooted in storytelling, evoking empathy, and inspiring action.

Committed to social and ecological justice, Ingrid’s practice fosters deeper dialogue on sustainability and ethical creation. She actively challenges unsustainable production methods, opting for lower-energy firing, repurposed materials, and donating proceeds to habitat rehabilitation initiatives.

Her graphically inspired works explore interspecies relationships, inviting viewers to engage with other sentient beings and reimagine their connections through empathy and mutuality. Drawn to both performative and contemplative mediums, she works across puppetry, masks, craftivist events, and reflective art forms that encourage new ways of seeing, doing, and being.

Ingrid has exhibited widely in community exhibitions, is a regular participant in Art with Altitude (Mt Glorious), and is a founding member of Upatree Arts Cooperative, which focuses on making and performing with giant puppets. She is also a contributor to Range Made, a mobile gallery based in Mt Nebo. Feathers and Fingerprints marks her first solo exhibition.

About the Curator

Laura Brinin

Laura Brinin is a curator of contemporary art, currently facilitating the vibrant program at Side Gallery in the heart of Red Hill, Brisbane. With an unwavering passion for nurturing connections with emerging and established creatives, Laura is dedicated to fostering artistic growth through avenues such as social media, branding, and identity development.

Laura has exhibited her own work both in Australia and overseas, as well as working as an independent freelance curator across Brisbane for over ten years. In her downtime, you can find her reading, travelling, or stalking dogs.