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James Lemon’s ceramics are tactile, dynamic objects that traverse the context of art and design. They uniquely reflect his humour, physical gestures, and broader social and philosophical concerns. References to religion, pop culture, insects and global ceramic forms are weaved in his signature colourful, highly textural, and sometimes slapstick works. While he primarily works with clay, he often embeds other objects such as bricks, precious stones, and discarded ephemera to develop his expressive, sculptural vernacular. James is also known for his comedic creation of content on social media ruminating upon daily life and also serves to generate ideas in his studio. James has collaborated with a range of institutions and individuals in diverse settings. He has developed exclusive collections for the respective design stores of The National Gallery of Victoria, and Heide MOMA He has exhibited multiple times for Melbourne Design Week and has featured in publications such as The National Gallery of Victoria Magazine, Architectural Digest, Vogue Living, Vault Magazine, The Design Files, Yellow Trace, Real Living Magazine, The Journal of Australian Ceramics and Broadsheet. He is also an active member of the arts community, routinely teaching workshops and masterclasses in his studio and showroom. He is represented in the permanent collection of The National Gallery of Victoria.

“Growing up in Aotearoa, I spent alot of my youth at Pentecostal Christian camps along Lake Karapiro, in regional Waikato. Regardless of the cult-like indoctrination of children into the church, I had an otherwise fabulous time, because we got to spend a lot of time in nature. One evening, we travelled along the water in kayaks through pitch darkness with just the stars and moon to light our way. It led us to a crack between dribbling rock formations and we became ensconced between water, silence, and walls of light. Arachnocampa Luminosa, glow worms. One of my favourite creatures. Disgustingly beautiful, tiny larvae; mirroring the endless void above them. The works in Grotto coalesce various aspects of the cave allegory into singular objects in Socratic dialogue. Thrown ceramic vessels on plinths of ceramic rocks. Clay, bones, bricks, biological forms, and photoluminescence are brought together through fire."