Existence
2025
70cm (width) × 70cm (depth) × 230cm (height)
70cm (width) × 70cm (depth) × 230cm (height)
Fremantle Art Centre 2025
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Existence is exploring the transitions, process of change and transformation, depicting a complex adoptive system composed of many components which interact with each other – systems that maintain themselves between randomness and consistency where they can somehow use both in order to configure and reconfigure themselves, evolving to become more complex. A living cell, an ecosystem, coral reef, cities, global climate change and ultimately the life of the Planet are such systems. |
Karratha Reflections I & II
2025
340cm (width) × 240cm (height)
340cm (width) × 240cm (height)
Red Earth Arts Precinct, Karratha 2025
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This installation comprises over 400 individual ceramic pieces, each shaped and carved by community members under the artist's guidance. Together, these fragments form a larger vision—a collective response on the ecological, historical, cultural, and archaeological significance of the Karratha region. The work depicts the area's distinctive rocky outcrops and rugged terrain, while honouring the rich cultural history that has shaped this land for millennia. Through clay—one of the earth's most ancient materials—the community has together created a dialogue between past and present, between individual voices and communal story, celebrating the enduring spirit of the Pilbara region.
Karratha Reflections transpired from the 2 week residency at REAP in Karratha. |
The World Within
2024
200cm (width) × 300cm (depth) × 65cm (height)
200cm (width) × 300cm (depth) × 65cm (height)
Sculpture by the sea, Cottesloe 2024
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How can one depict the complexity of the inner world? The turbulence of rational and irrational thoughts and emotions; interplay of conscious and unconscious aspects of the mind, memories, perceptions and experiences that shape our behaviour and the worldview? It is a dynamic, everchanging landscape made up of a separate but interacting structures and systems, uniquely individual yet possibly universal. The title is a homage to Carl Gustav Jung; founder of analytical psychology. His concepts have been influential in in the study of human mind, religion, philosophy, archaeology, anthropology, literature, and related fields. |
Emergence II
Flow | Growth | Erosion
2024
Flow (wall-mounted): 330cm (width) × 250cm (height)
Flow (wall-mounted): 330cm (width) × 250cm (height)
Gallery Central, IOTA 2024
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Emergence II is a three-part installation that asks urgent questions about humanity's place in the lifecycle of Earth.
The work explores the psychological concept of flow—that state of balance between skill and challenge, where action and consciousness merge and full concentration is required. Visually, it draws on the language of lichens and corals: organisms that are habitat-specific, sensitive to disturbance, and composed of multiple organisms working together. Flow also references the clepsydra, an ancient water clock that measures time through controlled flow—a metaphor for how we measure our existence and our relationship to time itself. The installation proposes two possible futures: Growth and Erosion. |
Listening Geographies
2024
installation
installation
Courthouse Gallery, Port Hedland 2024
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Listening Geographies is a collaborative ceramic installation created by Andrea Vinkovic (ceramic), Amelia Blanco (video) and Kate Mulen ( soundscapes) in partnership with local community members, exploring the profound beauty and vulnerability of their natural environment through the tactile language of clay.
The choice of porcelain is deliberate and symbolic. Its stark whiteness evokes sun-bleached coral skeletons—a haunting reminder of ecological fragility and the transformative impact of environmental change. When worked to translucency, the porcelain becomes a delicate membrane, capturing light and allowing it to pass through, much like the living tissues of healthy coral. This quality creates an ideal canvas for collaborative artist Amelia's projections and light work, which breathe impressions of life and movement back into the bleached forms |
Emergence
2022
330cm (width) × 180cm (height)
330cm (width) × 180cm (height)
Venice Biennale, Palazo Mora 2022
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Emergence is exploring the transition between order and chaos, process of change and transformation, depicting a complex adoptive system composed of many components which interact with each other – systems that maintain themselves between randomness and consistency where they can somehow use both in order to configure and reconfigure themselves, evolving to become more complex. A living cell, an ecosystem, coral reef, cities, global climate change and ultimately the life of the Planet are such systems.
In our society we seem to have a worldview of a toddler, framing our personal needs and wants above anything else (including other humans!), seemingly oblivious to the rapid depletion of natural resources and biodiversity caused by our reckless disregard of our environment. What happens if we view humanity not as the evolutionary end point, but the part of the lifecycle of the Earth and perhaps a catalyst? |
Labyrinth (in search for the meaning)
2021
700cm (width) × x 500cm (depth) x 50cm (height)
700cm (width) × x 500cm (depth) x 50cm (height)
Sculpture by the Sea, Cottesloe 2021
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Labyrinth (in search for the meaning)
Labyrinth is a place for contemplation. There is only one path in and out of the labyrinth, so we can’t get physically lost. However, that frees our minds to wander and get lost in thoughts. Walking through a labyrinth is a solitary ritual evoking a sense of mystery, contemplation, search for meaning and understanding. In this labyrinth exit point is opposite from the entry, but it can be approached from either side, (or just view it from the outside-in), which changes the viewer’s perspective and the interpretation of the story. Protruding from the ground, rock like elements imply something buried in the ground, or washed out from the ocean. In closer view one can see textures and images imbedded in the “rocks” reminiscent of fossils - inviting the viewer to look closer, engage and decipher. You might see a rock that looks like a fragment of an ancient building, or a dinosaur footprint. Some of it might be partially covered by the windblown sand. |
In the grain of sand II
2020
180cm (width) × x 120cm (depth) x 120cm (height)
180cm (width) × x 120cm (depth) x 120cm (height)
Bathers Beach, Fremantle 2020
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In the grain of sand ( I & II ) is largely inspired by microscopic images of pollens, planktons and fragments of shells that form natural sand. It continues the exploration of the infinitely small, microscopic and, in this case, fragmented; and at the same time evokes ideas of complexity of the universe, individuality, fragmentation, decomposition and questions of origin. It encourages the viewer to consider the beauty of infinite small particles that surround us. |
Surface Tension
2019
exhibition with Stephane Hammill
Mundaring Art Centre
exhibition with Stephane Hammill
Mundaring Art Centre
Mundaring art centre, 2019
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Surface Tension sees ceramic artists Stephanie Hammill and Andrea Vinkovic explore how clay transforms when interacting with other materials and echoes the journey of discovery, collaboration and skill sharing these senior practitioners have undertaken over the past two years. Manipulated in non-traditional ways, the resulting ceramic creations are complex and unconventional, yet beautiful. |
Seed
2018
160cm (width) × x 160cm (depth) x 160cm (height)
160cm (width) × x 160cm (depth) x 160cm (height)
Sculpture by the Sea, Cottesloe 2018
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Largely inspired by microscopic images of pollens and seeds, and configurations of bubbles. It continues the exploration of the infinitely small, microscopic and seemingly insignificant, and at the same time explores the symbolism of the seed as the nucleus, the essence of being, the creative starting point and the potential for renewal.. |
In the grain of sand I
2017
160cm (width) × x 160cm (depth) x 160cm (height)
160cm (width) × x 160cm (depth) x 160cm (height)
Sculpture by the Sea, Bondi 2017
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In the grain of sand ( I & II ) is largely inspired by microscopic images of pollens, planktons and fragments of shells that form natural sand. It continues the exploration of the infinitely small, microscopic and, in this case, fragmented; and at the same time evokes ideas of complexity of the universe, individuality, fragmentation, decomposition and questions of origin. It encourages the viewer to consider the beauty of infinite small particles that surround us.
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Memories of the Ocean
2016
160cm (width) × x 160cm (depth) x 135cm (height)
160cm (width) × x 160cm (depth) x 135cm (height)
Sculpture by the Sea, Cottesloe 2016
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Memories of the Ocean is largely inspired by microscopic images of pollens, planktons and molecules, and in particular the shape of Emiliania huxleyi, plankton that freely drift in the ocean, forming the basis of virtually all marine food webs. It plays with the idea that natural objects of different origins and on different scale share the similarities and visual language we intuitively recognize and respond to.
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Standing at Water's Edge
2016
solo exhibition, Goolugatup Heathcote Gallery, WA
solo exhibition, Goolugatup Heathcote Gallery, WA
Heathcote Gallery 2016
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Standing at water’s edge…
Does it evoke the image of waves gently caressing the shore, sun glittering on the surface, and rhythmical sounds of the ocean breathing in and out? Or dark and deep angry waters powerfully crashing onto the shore with relentless energy and thunderous sounds, goaded by the wind? Do you ever think of it as the border of the realm we belong to and the one we can only visit for a short time. Fascinating, Intriguing, Inviting? |
Intuitive Sense of Connection
2015
160cm (width) × x 160cm (depth) x 135cm (height)
160cm (width) × x 160cm (depth) x 135cm (height)
Sculpture by the Sea, Bondi 2015
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Intuitive Sense of Connection is inspired by microscopic images of pollens, planktons and molecules, and geodesic sphere structure popularized by architect, philosopher and futurist Buckminster Fuller.
It plays with the idea that natural objects of different origins and on different scales share the similarities and visual language we intuitively recognize and respond to. The ocean represents life in its perpetual evolution. A different world from ours that we can only glimpse from the edges. However, the new technologies including the scanning electron microscope to capture, and internet to disseminate, make it possible to become aware, and on some level interact with the objects too small to sense. Those revealing images of natural forms are generating a sense of wander and curiosity urging us to explore |
Shape of Thought
2014
160cm (width) × x 160cm (depth) x 120cm (height) - largest
160cm (width) × x 160cm (depth) x 120cm (height) - largest
HERE & NOW, Lawrence Willson gallery 2014
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I work with clay. I love the feel, the smell, and the idea of using a natural, earthy, ancient material to explore and express thoughts.
Shape of Thought is inspired by microscopic images of pollens, planktons and molecules and geodesic sphere structure popularized by architect, philosopher and futurist Buckminster Fuller. I am intrigued by the fact that it is also a shape of Clathrin which plays a major role in the formation of neurotransmitters in our brain. |
Vortex
2013
400cm (width) × x 400cm (depth) x 60cm (height)
400cm (width) × x 400cm (depth) x 60cm (height)
Ceramic dpt at Central TAFE 2013
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Vortex emerged from a creative challenge: how to create large-scale ceramic work that is structurally sound, environmentally resilient, and deeply engaging.
Inspired by the spiral arrangement of pinecone bracts, Vinkovic translated this natural geometry into ceramic form, capturing the mathematical beauty of Fibonacci-like patterns that govern so much of the living world. The spiralling bracts grow outward from a central core in mesmerizing symmetry—each scale protecting the seeds within, each curve contributing to the structural integrity of the whole.The spiralling pattern is not merely decorative but functional, an evolutionary solution to the dual needs of protection and dispersal. |
Mother
2013
50cm (width) × x 50cm (depth) x 30cm (height)
50cm (width) × x 50cm (depth) x 30cm (height)
Wesley Uniting Church 2013
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Invited to interpret the Fourth Station of the Cross—Jesus Meets His Mother—Andrea Vinkovic chose to shift perspective from the traditional narrative focus to explore the profound interior landscape of maternal witness.
The subject is extremely personal and emotional to artist as mother. The turmoil of emotions felt when you watch your child suffer is hard to put into words. There is helplessness and sorrow, hopelessness, inadequacy, love, vulnerability, emptiness and silence. |
Self Portrait
2012
Mundaring art centre 2012
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Invited to participate in "Mine Own Executioner 2012" Andrea Vinkovic faced an intriguing challenge: creating a self-portrait when figurative representation lies far from her natural mode of expression.
The process demanded self-examination. How did she perceive herself? What constituted the essence of her being? The answer emerged not in human features but in trees. Trees symbolize life and growth, reaching simultaneously into earth and toward sky. Their branches meander through space like thoughts taking shape, like the thinking process itself. This is how Vinkovic perceives herself from within: not as a physical image but as thoughts, ideas, and emotions in constant movement. She is more aware of her interior landscape than her exterior form—more present to the branching pathways of consciousness than to the mirror's reflection. |
Gateway
2012
300cm (width) × x 40cm (depth) x 250cm (height)
300cm (width) × x 40cm (depth) x 250cm (height)
Gomboc Gallery 2012
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Created for the theme "New Perspective,"sculpture survey at Gomboc Gallery, Andrea Vinkovic's arch emerged as an intuitive response to both concept and environment. The sculpture's scale asserts its presence in open outdoor space while inviting direct interaction—looking at the arch, looking through it, and physically walking through to emerge on the other side.
The arch poses a quiet question: do we emerge the same or changed? In the simple act of passage through a threshold, the work embodies the possibility of transformation that comes with shifting one's view, one's position, one's perspective. |
THE STATE OF THE WEST – ceramic survey
2008
Gallery central 2008
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The State of the West: A Ceramic Survey 2008 at the Central TAFE Art Gallery. This exhibition is a survey of works made in the last year by 45 of the best established and emerging Western Australian ceramic artists as selected by Ceramic Arts Association of Western Australia.
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