VWA Artists in Residence Update 2025
After another fantastic year of work from our Artists in Residence, we’re excited to see them back in the workshop, continuing to develop their craft and explore new ideas.
A special shout-out to Isabel Avendaño, who recently completed her three-year residency with us. Her time in the program culminated in a stunning end-of-year exhibition, a testament to her artistic growth and refined craftsmanship. While she’s stepping beyond the residency, we can’t wait to see what she creates next.
Looking ahead to what’s next, here are some updates from our talented residents!
Jess Humpston
I have been working on a jig to resolve a joint detail which has an angled opening creating a shadow gap. The jig allows the piece to be sent through the thicknesser to flatten the back and then the drum sander to clean up the face.
Follow Jess on instagram here.
Freddy Mata
Lately, I’ve been experimenting with new materials, techniques, and interactive elements in my work. From kinetic sculptures to reclaimed timber creations—and even a treasure hunt giveaway—these recent projects explore movement, memory, and place in unexpected ways.
1) CAPITAN CHICO
Capitan Chico is made out of Messmate and resin. During our break from the WDC close down, I spent time in my metal fabricator friend’s workshop and used a milling machine to drill holes in this piece. It felt like rocket science, the level of precision metal workers handle is something us woodworkers will simply never be allowed to do. The piece’s name comes from the mangrove forest in the north coast of Maracaibo City. Each one of the nine blocks that conformed this sculpture can spin individually mimicking the move of the mangrove with the wind and tides.
2) EL TABLAZO
This piece is made out of reclaimed Oregon from Younghusband building in Kensington and is the off cut of another piece that I’m currently working on. Inspired by the endless burning flame of a petrochemical plant in Venezuela called El Tablazo. With this piece I decided to do a giveaway/ treasure hunt which was a total success. Over a week I was giving clues to where it will be hidden on my IG stories (guildford lane), the day of the treasure hunt (Saturday 01 March 2025) I was more specific with the clues and the final clue was given at 10:00 am as planned. It happened that the hunt only lasted 20 min before someone found it. I was lucky enough to have all their hunt documented, making it ideal to share the whole thing over IG post.
3) NEW SERIES – MARACAIBO CENITAL (01 PICTURE)
This is something I have been working on since October last year and now is finally taking shape. This picture is one of many more that will be part of the series that represent in a very abstract form, buildings, city blocks and landmarks that were printed in my memory when I was a kid. This time is no longer about feeling homesick but using those memories as the source of inspiration with the materials, skills and access that I have to tools and machinery now. A perfect mix of the past and the present.
Follow Freddy on instagram here.
Wanda Gillespie
This week, I installed my exhibition Of Counting and Devotion in the vitrine space at Craft Victoria. These sculptural works have evolved throughout my residency at the VWA, culminating in a hand-carved Sage figure in burl, adorned with prayer beads—including larger Sassafras beads turned on the lathe. Carved using both power tools and traditional chisels, the Sage stands as a grand orchestrator within the space.
Alongside him, my smaller abacus sculptures have expanded beyond the rigid abacus frame into more fluid, curved forms. Conceptually, I’ve been exploring the shift from mathematical code into language, with these new forms resembling an invented alphabet. The intricate frame construction posed some challenges, offering valuable insights for future works.
Beyond this exhibition, I have a piece on display at Bundoora Homestead for the A1 Salon and will be showing work at the Abbotsford Convent as part of Melbourne Design Week, as well as in an upcoming exhibition on Waiheke Island. Additionally, I’ve written a piece for Garland Magazine’s March issue, reflecting on the process of carving a Taniwha—a Māori water spirit often likened to a dragon.
Follow Wanda on instagram here.
Brandon Harrison
I’m making a version of my chair for some clients in Sydney, I’m halfway through at the moment, due to be finished next week.
In other news, I’ve recently been accepted into a postgraduate course at YACademy (Young Architects Competitions Academy), an institution that offers advanced training in architecture and design. The course I’ll be undertaking is “Wood Design”, which was initiated by Magnifica Communità di Fiemme, a historic guild for forestry and woodcraft in the Dolomites that has been around since the 12th century.
The program focuses on contemporary sustainable wood architecture and object design. One aspect I’m particularly excited about is learning how to calculate and quantify the embodied carbon in a specific object or project—an essential skill in sustainable design.
The course runs for just under three months and concludes with a two-month paid internship at a partner design firm. I’m looking forward to gaining new insights and hands-on experience in sustainable woodcraft and design.
Follow Brandon on instagram here.