
Michelle Ussher’s practice is motivated by an ongoing interest in how an image, form or sound can communicate the subjective and conditional nature of perception. With an emphasis on the handmade, represented through luscious oil paintings, watercolours and oils on paper, and glazed ceramics, her highly evocative works oscillate between figurative and abstracted imagery. Their fraught surfaces and half-materialised forms produce a sense of history entangled with the effects of imagination and the unconscious. Ussher’s works often scrutinise the world of intimacy to decolonise and reimagine historic and symbolic Western representations of female identity and sexuality.
Ussher work has presented solo and group exhibitions nationally and internationally, including Art Gallery of Western Australia, Perth (2019); Wilkinson, London (2016); National Gallery of Victoria, Melbourne (2013); Gertrude Contemporary Art Space, Melbourne (2011); Studio Voltaire, London (2010); Care/of Contemporary Art Centre, Milan (2007); and Room 103, Auckland (2006). She has undertaken artist residencies West Dean College, Westdene (2020-21); the Acme Fire Station, London (2015-2020); the British School at Rome (2015); the Australia Council for the Arts London Studio (2009); and the Cité International des Arts (2008). She received an Arts Council England international development grant in 2016 to undertake the Victorian College of the Arts Phasmid resi-dency in Berlin; and an Australia Council for the Arts mid-career development grant to undertake research in Greece in 2014, which led to her significant solo exhibition Yellow eyes burn and Return at TarraWarra Museum of Art, Healesville (2014).

Tarrawarra Biennial: from Will to Form
2018
Tarrwarra Museum of Art
installation view

Oh Chenaud! Glasshouse Stonehouse
2025
Gertrude Glasshouse, Melbourne
installation view
Photo: Christian Capurro

Unsettled Subjects
2025
STATION Gadigal/Sydney
installation view
Photo: Jessica Maurer

Two Eyeballs on the Run — Looking for a New Head to House. Part One
2012
oil on linen
76.0 × 60.0 cm

Is it your body I hold in my arms or the sea?
2015
STATION Naarm/Melbourne
installation view

Tutti Fruity
2018
glazed porcelain, oil paint and beeswax
45.0 × 45.0 × 25.0 cm

TarraWarra Biennial 2018: From Will to Form
2018
installation view

Camilla
2014
glazed porcelain, epoxy putty and powder-coated steel, silk smock with linen bow
65.0 × 45.0 cm

Saggy Boob Vase
2017
black earthenware
27.0 × 29.0 × 29.0 cm

Oh Chenaud! Glasshouse Stonehouse
2025
Gertrude Glasshouse, Melbourne
installation view
Photo: Christian Capurro

Amaurots Mirror
2012
oil on linen
160.0 × 250.0 cm

Orchis 1
2019
oil on card
60.0 × 42.0 cm (framed)

Afterburner
2022
STATION Gadigal/Sydney
installation view

Big Mother (Knickers)
2018
bleach and acrylic on dyed linen
70.0 × 65.0 cm

Spare organs
2022
oil on linen
51.0 × 40.5 cm

Oh Chenaud! Glasshouse Stonehouse
2025
Gertrude Glasshouse
installation view
Photo: Christian Capurro

Big Mother (oh dear, oh dear)
2018
bleach and hand crocheted cotton on linen
245.0 × 245.0 cm
Gritty Titties
2018
glazed porcelain and oil paint
45.0 × 45.0 × 31.0 cm

Slug Screamer
2022
ceramic
24.0 × 22.0 × 17.0 cm

Yellow Eyes Burn and Return (Bitches are Witches)
2013
oil on paper
65.0 × 65.0cm

Sonic
2022
ceramic
6.0 × 10.0 × 9.0 cm

TarraWarra Biennial 2018: From Will to Form
2018
Tarrwarra Museum of Art
installation view

TarraWarra Biennial: From Will to Form
2018
Tarrwarra Museum of Art
installation view

Snozzle
2022
oil on linen
75.0 × 60.0

Orchis 3
2019
oil on card
60.0 × 42.0 cm (framed)

Afterburner
2022
STATION Gadigal/Sydney
installation view

Spoon
2017
glazed porcelain
2 parts

Two Eyeballs on the Run – Looking for a New Head to House. Part One
2012
STATION Naarm/Melbourne
installation view

Two Eyeballs on the Run — Looking for a New Head to House. Part One
2012
oil on linen
225.0 × 300.0 cm

Medusa with middle aged brunette (eyes closed)
2016
oil on linen
50.0 × 40.0 cm