Jacinta Maude - Mothers Milk - 9
Porcelain, clay, found objects (clothes peg, gas cooker hob) and gesso, 7cm x 12cm x 5cm, 2025
Jacinta is a Naarm/Melbourne-based artist living and working on Wurundjeri Woi-wurrung country. Her practice explores materiality, ecology, and non-human agency. Working primarily in installation and sculpture, she repurposes found and discarded objects to examine care, relationality, and identity in a commodity-driven culture. Drawing from domestic spaces, she integrates salvaged materials with plaster or ceramics, using rudimentary casting and bricolage to transform everyday remnants beyond their utilitarian origins.
She holds a Master of Contemporary Art from the University of Melbourne (VCA). Her graduate project, Field Work—awarded the Fiona Myer Prize—explored domestic labour and caregiving through works incorporating plaster and salvaged household objects. She has exhibited in group shows, including in the Netherlands, and works casually with ACCA’s visitor experience team. In 2024, she completed an artist residency in Morocco’s Sahara Desert and is a co-founder of the Tin Pot Women Artist collective.
For Counter Encounter, her work Mother’s Milk explores the tension between caregiving as an intimate, essential act and its societal undervaluation. It examines the psychological threshold of caregiving’s mental load, where routine tasks shift between monotony and deep significance. By transforming discarded objects, her assemblages engage with material liminality—blurring waste and renewal, utility and poetic resonance.
Porcelain, clay, found objects (clothes peg, gas cooker hob) and gesso, 7cm x 12cm x 5cm, 2025
Jacinta is a Naarm/Melbourne-based artist living and working on Wurundjeri Woi-wurrung country. Her practice explores materiality, ecology, and non-human agency. Working primarily in installation and sculpture, she repurposes found and discarded objects to examine care, relationality, and identity in a commodity-driven culture. Drawing from domestic spaces, she integrates salvaged materials with plaster or ceramics, using rudimentary casting and bricolage to transform everyday remnants beyond their utilitarian origins.
She holds a Master of Contemporary Art from the University of Melbourne (VCA). Her graduate project, Field Work—awarded the Fiona Myer Prize—explored domestic labour and caregiving through works incorporating plaster and salvaged household objects. She has exhibited in group shows, including in the Netherlands, and works casually with ACCA’s visitor experience team. In 2024, she completed an artist residency in Morocco’s Sahara Desert and is a co-founder of the Tin Pot Women Artist collective.
For Counter Encounter, her work Mother’s Milk explores the tension between caregiving as an intimate, essential act and its societal undervaluation. It examines the psychological threshold of caregiving’s mental load, where routine tasks shift between monotony and deep significance. By transforming discarded objects, her assemblages engage with material liminality—blurring waste and renewal, utility and poetic resonance.
Porcelain, clay, found objects (clothes peg, gas cooker hob) and gesso, 7cm x 12cm x 5cm, 2025
Jacinta is a Naarm/Melbourne-based artist living and working on Wurundjeri Woi-wurrung country. Her practice explores materiality, ecology, and non-human agency. Working primarily in installation and sculpture, she repurposes found and discarded objects to examine care, relationality, and identity in a commodity-driven culture. Drawing from domestic spaces, she integrates salvaged materials with plaster or ceramics, using rudimentary casting and bricolage to transform everyday remnants beyond their utilitarian origins.
She holds a Master of Contemporary Art from the University of Melbourne (VCA). Her graduate project, Field Work—awarded the Fiona Myer Prize—explored domestic labour and caregiving through works incorporating plaster and salvaged household objects. She has exhibited in group shows, including in the Netherlands, and works casually with ACCA’s visitor experience team. In 2024, she completed an artist residency in Morocco’s Sahara Desert and is a co-founder of the Tin Pot Women Artist collective.
For Counter Encounter, her work Mother’s Milk explores the tension between caregiving as an intimate, essential act and its societal undervaluation. It examines the psychological threshold of caregiving’s mental load, where routine tasks shift between monotony and deep significance. By transforming discarded objects, her assemblages engage with material liminality—blurring waste and renewal, utility and poetic resonance.