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 coming out (of the kiln)



Honours research, presented as five finished works and written Exegesis.

Kiln formed and cold worked glass, wood and paint.


Grant’s practice focuses on the search for an authentic expression of the queer self. Focusing on methods of unbecoming, unmaking and undoing, Grant embraces the utopian possibilities of failure and imperfection as a method of queer resistance. Grant’s practice challenges the focus on the need for external validation of queer identity by focusing on the internal search for authenticity. The reflective nature of glass echoes the play between ideas of visibility and invisibility as well as the tensions between suppression and expression of queer identity.

Grant undermines the dominant nature of glass as a hard, inflexible aspect of our built environment, portraying it instead as a tactile, yielding material with scratches, bubbles, reflections and imperfections. A focus on the materiality of the glass reveals its hidden properties and inherent idiosyncrasies that can otherwise go unnoticed. From a distance, the slabs appear identical, but upon closer inspection, each individual slab is shown to be subtly different in colour, shape and form.

-text from HATCHED 2019 National Graduate Show, presented by PICA (Perth Institute of Contemporary Arts).


fag (there’s glitter on the floor after the party


they took the crown, but it’s alright


you took my sadness out of context


a grey area


all the bricks they threw at me