Heide Editions

In celebration of Heide’s 40th anniversary, we have invited a number of Australian artists and designers to create new, limited edition artworks and objects that capture their personal response to the museum’s legacy. The creators’ practices span visual art, sculpture, fashion, jewellery and more, with the works signifying contemporary perspectives on Heide’s history and the life of the museum today.

These collectables number up to 40 pieces and will not be repeated. They also inaugurate the ongoing Heide Editions program, for which we will work with artists and designers to produce artist multiples and limited edition objects that reflect our exhibition program, collection and unique story.


Impossible Bouquet Fiscal Cliffs Wearable Vessel 2021

‘I have a deep love of gardening and have always been enthralled by the Heide garden, since I was a child. My work responds to both the organic, nurturing utopian nature of Sunday’s dream, but also the dark underside of complicated relationships, shame, and ephemerality.’

Made during the lockdowns of 2020 and 2021, this wearable vessel references one of the unique ceramics created by Tai for her Impossible Bouquet series, exhibited as a contemporary intervention in the exhibition House of Ideas: Cynthia Reed’s Studio. In Tai’s words, these works ‘tell both a story of our current unprecedented times and connect them to the dark domestic history of Heide’.

This miniature reproduction of one of the vessels necessitated an exploration in new technology for the artist. Her original artwork was scanned, translated into CAD, then reproduced using 3D print technology. The printing technique added distinctive contours to an initially smooth surface, which have been retained. The miniature was then cast in a black steel that is suggestive of the material quality of the original.

The finished piece functions as a wall-mounted sculpture or vessel, and is also, as Tai says, ‘scaled down to a personal size that can sit on one’s chest. The idea is that you can take a vase and wear it on your body. Pick a tiny flower and pop it in the vase to remind you of how fleeting life is. Cherish each moment, each encounter, each friendship, before it decomposes into the future.’



Lockdown Soap Dish 2021

‘When I was at high school, I read Richard Haese’s landmark Rebels and Precursors and that book has always been really important to me. It has Heide very much at its centre. Since then, I have worked with Heide on different projects as both curator and artist and it’s one of my favourite places in the Australian art community – with amazing shows, great people, fantastic curatorial practice and incredible gardens’.

Glenn Barkley was co-curator with Heide’s Artistic Director Lesley Harding on the exhibitions Ken Whisson: As If (2014), Aleks Danko: My Fellow Aus-tra-aliens (2015–16) and An Idea Needing to be Made: Contemporary Ceramics (2019). He was guest curator and contributing artist for the 2018–19 exhibition Meditation on a Bone: Albert Tucker Beyond the Modern.

Glenn’s highly sought after, intricate ceramics are hand-built and rich in textural quality. In a rare opportunity, he has created 40 joyous, one-off ceramic vessels in celebration of Heide’s 40th birthday. Each of these smallerscale pieces is unique in colour, detail and form.



Sunday PendantCynthia PendantMirka Pendant 2021

‘I've always felt a personal connection to Heide. My parents would often take my brother and me for visits to Heide II on an architectural pilgrimage. I have always quietly imagined what the house might have felt like to live in and reading the double biography Modern Love really opened up a new perspective on the Reeds and their circle … an intellectual and creative hub which still ripples through Melbourne today’.

A mainstay of the Melbourne jewellery community, Melanie Katsalidis has always appreciated the role of women in the arts, whether it’s through her own practice or her jewellery gallery Pieces of Eight to support the work of her peers. It’s a philosophy that runs parallel with Heide’s story.

‘The collection of three pendants I have made for Heide were created to celebrate the lives of three key figures from the Heide circle: Sunday Reed, Cynthia Reed Nolan and Mirka Mora. Using Australian gemstones was key to the creation of these pieces. I wanted to celebrate and honour this precious gemstone while also speaking to the women who contributed so much to the story of Australian art.

'The circle pendant was inspired by Sunday Reed, she sits in the centre but a little off balance, leaving room for others to join her.’

'The straight pendant with two different-sized stones is linked to Cynthia Reed Nolan, how she took a back seat to the fame enjoyed by her husband Sidney Nolan but he arguably couldn’t have achieved his success without her tremendous support.’

'The curved pendant with the pearshaped opal is a tribute to Mirka Mora, whose curvy form, broad smile and angel-filled art has always made me smile—it’s a celebration of the feminine.’



Stairs in Heide Modern 2021

Designers Alex and Georgie Cleary share an ongoing romance with Heide.

‘Heide is a magical place for us …a place we remember playing as children … learning the history …I got married in the gardens there’, remembers Georgie.

‘There was a moment earlier this year when Al and I were setting up the Patricia Piccinini × Alpha60 Kiosk in Heide Modern … we could feel the ghosts of John and Sunday.

We decided the stairs were our favourite part of the space. When we were asked to create a piece for Heide’s 40th birthday we knew it had to be around the staircase in Heide Modern. From there the scarf was born. Happy Birthday Heide. We heart you XOX.’

Alpha60’s luxurious scarf features a woven loop for holding the scarf in place.



Witness/Kiss (S & S) 2021

‘This print is a double portrait of Sidney and Sunday, made by scanning both sides of a single oak leave that I stole when I first visited Heide. I had this idea about what that tree had witnessed—an idea about their kissing underneath its shade and the eternal return of deciduous trees and their continual regeneration.’

Dean Cross was born and raised on Ngunnawal/Ngambri Country and is a Worimi man through his paternal bloodline. He is a paratactical artist interested in collisions of materials, ideas and histories. He is motivated by the understanding that his practice sits within a continuum of the oldest living culture on Earth, and enacts First Nations sovereignty through expanded contemporary art methodologies. Dean's exhibition Sometimes I Miss the Applause opens in Heide's Project Gallery on 5 February.

Dean hopes to traverse the poetic and the political in a nuanced choreography of form and ideas and has exhibited widely across the Australian continent and beyond. His work is held by major institutions including the Art Gallery of South Australia and the National Gallery of Victoria, and he is represented by Yavuz Gallery Sydney and Singapore.