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In The Studio with ceramic artist Cindy Tong

Sgraffito, Mishima, and the making of beautiful objects.

Cindy Tong has been on our radar for a while. The ceramic artist and potter from Gippsland has developed a distinct personality to her pottery that both celebrates everyday objects and whilst also tapping into deeper artistry with her vessel forms.

In our series, In The Studio, we take you into space of Victorian creators, unpacking their craft and getting comfortable in their creative zones. Join us as we enter the studio with Cindy Tong.

Keep up to date with all things arts, exhibitions and stage here.

In The Studio with Cindy Tong

 

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For me, a creative practice is a way of understanding and returning to yourself. In a world that often feels busy and overwhelming, making offers a sense of clarity and purpose.

I hope that everyone finds something that gives them that same feeling.

What work do you create?

My ceramics practice operates across two distinct but connected streams.

The first is a small-batch functional ware range, produced for cafés, artist collectives, and gallery shops throughout Gippsland. This work centres on everyday objects – cups, mugs, bowls, plates, and vases – made to be used every day.

The second is my exhibition practice, primarily vessel-based forms ranging from intimate, palm-sized pieces to larger sculptural works. These are exhibited in group and occasional solo exhibitions, and allow for a more exploration of pattern, geological forms, and Australian flora.

Across both streams, surface is central. Using carving techniques such as Sgraffito and Mishima, I carve intricate patterns with contrasting slips, embedding line and texture into the clay.

How long have you been developing your arts practice?

I first worked with clay in 2018, and from that moment I wanted to understand everything about it. The material and its chemistry immediately drew me in. With a background in graphic design, I naturally approached the work with a strong sense of form and composition. I’m still developing my practice and always will be – curiosity and continual learning are what keep the work evolving.

How did you discover your passion for this practice?

A friend invited me to a two-hour clay workshop, and I was immediately hooked. I kept returning, learning as much as I could, and it quickly became something I couldn’t step away from.

 

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What have been the biggest milestones in your arts career to date?

Winning the Sculpture Prize at the East Gippsland Art Gallery in 2022 was a real turning point for me. I had entered for the first time, and getting that call – alongside my mentor Malcolm Boyd – felt both surreal and incredibly validating. It gave me the push to take my exhibition work seriously.

Being named a finalist in the 2025 Siliceous Award for Ceramic Excellence has been another big moment, reinforcing that I’m on the right path.

What is your favourite artwork or series that you have created and why?

It would have to be ‘Foliole’, my first solo exhibition with Michael Reid Murrurundi. The series brought together a cohesive body of wheel-thrown vessels, primarily vases with simple, angular forms. Each piece was developed through Sgraffito and Mishima, using white slip on earthy clay to depict banksia and eucalyptus leaves and flowers.

The palette of blues and greens sat against the warmth of the clay, creating a deliberate contrast. It was the first time I had created a cohesive body of work and released it to the public.

What has been the biggest challenge you face as an artist and how are you pushing through that barrier (if you can!)?

Balancing my two streams of practice has been the biggest challenge. There are times I feel pulled to step away from production work, but being early in my career, it’s an important part of my income.

It’s something I’m navigating as I go – I suspect my practice will shift over time, but for now, both streams continue to shape what I do. 

Who knows, ask me again next week, I might answer differently [haha]

 

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Where has your work been, or is your work currently, displayed?

My functional ware is stocked in galleries and shops across Gippsland, including Gippsland Art Gallery, Flooding Creek Gallery, Latrobe Regional Gallery, Foundry Bairnsdale, and Little Oberon in Fish Creek.

My exhibition work has recently been shown at East Gippsland Art Gallery in Bairnsdale and The Hive Gallery in Ocean Grove. I am also part of a collaborative exhibition, Nexus, at Gippsland Art Gallery, alongside work in Briagolong Art Gallery, both running throughout May.

Tell us about your studio space!

My studio is set up in a separate garage space that has gradually been taken over by ceramics. Most of the equipment and furniture is second-hand – shelves, tables, and storage collected over time.

There’s a kiln, pottery wheel, worktables, glaze buckets, and more buckets for clay reclaim. While much of it is built from what I’ve gathered over the years, investing in a new wheel has significantly advanced my wheel-throwing. Having room for all these things is essential to the growth of my practice. In saying that, you work with what you’ve got.

 

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What does a typical day of creating art look like for you both in the studio and out of the studio?

In the studio, I could be throwing all day, then turning the next, then decorating. Sometimes, I leave things wrapped under plastic for weeks until I decorate – but they are always ready to go. My blank canvases. 

Outside the studio, I spend time walking – along the lake with my dog, through bushland, or by the coast. There’s so much inspiration where we live. I also invest in time connecting with my people.

How would you characterise the arts ecosystem in regional Victoria?

I’m fortunate to be part of a strong creative community in East Gippsland. Through the artist collective Foundry, I connect regularly with artists across disciplines – jewellers, woodworkers, painters, and ceramicists – sharing ideas, challenges, and direction.

To help support and promote ceramic artists in the region I have started a page called Gippsland Ceramics on Instagram and Facebook. 

In regional areas, we often create our own opportunities. While there are fewer resources, there is a strong sense of connection and initiative, and proximity to Melbourne offers additional opportunities when needed.

 

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How has being based in regional Victoria elevated your arts practice?

The sense of community and connection to the environment has been incredibly grounding. Regional galleries provide valuable exhibition opportunities, and it feels easier to build genuine relationships within the arts community.

Compared to city life, there is more space – physically and mentally – which allows for deeper focus and a stronger connection to the work.

What does 2026 look like for you?

My focus for the rest of the year is the Fernbank Exhibition in November, the largest ceramics exhibition in East Gippsland, which I’m excited to be part of. I’m also aiming to apply for the Pottery Expo next year – Gippsland represent!

 

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Keep up to date with Cindy Tong here, and view her work here.