Vicki Mason

Highslide JS Highslide JS Highslide JS
Highslide JS Highslide JS Highslide JS
Highslide JS Highslide JS Highslide JS

Vicki Mason


1966, Christchurch, New Zealand

Training / Education:

  • 2007: Master of Philosophy Candidate (Gold and Silversmithing) Australian National University, Canberra, Australia
  • 1993 – 1995: Diploma in Craft Design (Jewellery), Otago Polytechnic School of Art, Dunedin, New Zealand
  • 1988 – 1990: Bachelor of Arts (Classical Studies), University Of Otago, Dunedin, New Zealand

Work Experience:

  • Box Hill Institute, Box Hill Campus, Melbourne Australia, Sessional tutor Advanced Diploma in Technology – jewellery, 2006 ongoing
  • NMIT, Greensborough campus, Melbourne, Australia, Sessional tutor, visual arts, 2005
  • Craft Victoria, Melbourne, Australia, membership committee, 2004-2005
  • Manchester Metropolitan University, Manchester, UK, Part-time tutor in 3D Design Department (during residency) 2003
  • Jewellers and Metalsmiths Group Australia, Victoria (JMGA), Melbourne, Australia, Conference committee member (voluntary) 2002-2004
  • CAE, Melbourne, Australia, part-time jewellery tutor, adult education programme, 2002 ongoing
  • Object Studios, Australian Centre for Craft and Design, Sydney, Australia, 2 year studio residency and professional development program, 2000-2001

    Where: Institute and/or Employment / Position / When: Time Spent (Years and/or months)

Exhibitions (Solo & Group):


  • 2007 Offshoot, JamFactory, Adelaide, Australia
  • 2003 Pacific Specific, Quoil, Wellington, New Zealand
  • 2002 Pacific Specific, Object Galleries, Sydney, Australia
  • 2000 Flora, Form Gallery, Christchurch, New Zealand
  • 1999 Mementoes from a Pacific Island, Council of Europe, Strasbourg, France


  • 2007
  • Contemporary Australian Design Objects. A touring exhibition to India and Malaysia funded by the Department of Foreign Affairs and Trade, curated by RMIT Gallery. Melbourne, Australia
  • SOFA New York, represented by Charon Kransen Arts
  • 2006
  • Round, Vicki Mason and Mark Vaarwerk, Workshop Bilk, Canberra, Australia
  • World, Fingers, Auckland, New Zealand
  • Medalling, RMIT Gallery, Melbourne, Australia (commission)
  • 2005
  • Shades of Gray: a survey of access jewellers from Gray Street Workshop 1985–2005, JamFactory, Adelaide, Australia
  • Global Local, Object, Sydney, Australia. Touring to Victoria and Albert Museum, London, UK
  • 2004
  • North and South, Bluecoat Display Centre, Liverpool, UK
  • Metal Element Seven, Quadrivium, Sydney, Australia
  • Metal Element of Six Countries, International Design Centre, Nagoya, Japan
  • Chromophobia, Studio Ingot, Melbourne, Australia
  • 2003 – 2005
  • The HAT Project: Here and There Australia/UK, Birmingham School of Jewellery, Birmingham, UK - touring UK and Australia 2003-2005
  • 2003
  • Contemporary Southern Wearables, OXOXO, Baltimore, USA

Awards & Grants:

  • 2006
  • National Contemporary Jewellery Award, First prize: Jewellery using non precious materials, Griffith Regional Art Gallery, Griffith, NSW, Australia
  • 2005
  • Australia Council for the Arts, Visual Arts and Craft Board, New work grant.
  • 2004
  • Arts Victoria, International Program – Cultural Exchange. Towards ‘North and South’ exhibition involving Australian/UK artists at Bluecoat Display Centre, Liverpool, UK
  • Creative New Zealand, Promotion, Presentation and Audience Development grant. Towards ‘Cross Pollination’ exhibition held under umbrella of the South Project, Craft Victoria, Melbourne, Australia
  • NAVA Visual Arts and Craft Artists’ Gant, Presentation and Promotion towards ‘Cross Pollination’ exhibition held under umbrella of the South Project Craft Victoria, Melbourne, Australia
  • 2003
  • Arts Victoria, Australia Council & Arts Council of England. Hat: Here and There. International Exchange Project. Residency at Manchester Metropolitan University, UK
  • 2000
  • Australia Council for the Arts, Visual Arts and Craft Board, Mentorship grant. Working with Catherine Truman, Gray St Workshop, Adelaide, Australia

Collections (Private & Museum):

  • Griffith Regional Art Gallery, Griffith, NSW, Australia, 2006
  • Art Gallery of South Australia, Adelaide, Australia, 2005
  • Grundy Art Gallery, Blackpool, UK, 2003
  • Manchester Metropolitan University, Manchester, UK, 2003
  • Absolut Vodka International Art Collection, Sweden, 2000


  • Canberra Times, Precious in Plastic, October 30, 2006
  • Curve, Personal Best, Issue 15, 2006, pp15–16
  • 500 Necklaces, Lark Books, Altamont Press, Inc USA, 2006
  • Object, Festival Melbourne, Issue 50, 2006, p. 47
  • Object, The Great Materials Double Dip, Issue 46, 2006, pp 16–23
  • Object, Global Local, Issue 45, 2005, pp 30–43
  • 500 Brooches, Lark Books, Altamont Press, Inc USA, 2005
  • 500 Rings, Lark Books, Altamont Press, Inc, USA, 2005
  • The Age, Brooches mark cross-Tasman event, 27 July, 2004

Artist Statement:

Vicki’s work is informed by her love of all things botanical. Plants used as metaphors have featured throughout her work as they represent life, death and a sense of place and belonging. As part of her practice she is interested in looking at historical motifs used in jewelry, and botanical motifs have a long history within jewelry’s imagery so are a rich source for reinterpretation and investigation.

Vicki often uses plastic in her work for its inherent playful colourfulness, lucidity and formal versatility. Plastic for her is a valid material belonging to this age and perhaps a replacement for the precious gems of more traditional eras. She chooses to combine precious and non-precious materials to test the limit of novel aesthetic concepts.