Madeleine Thornton-Smith
Location
Naarm/Melbourne, VIC
About
Madeleine Thornton-Smith is a trained painter and ceramic artist from Melbourne. Her
practice examines the hierarchy that exists between fine art and craft in relation to class and
gender. Madeleine uses slipcasting to bring together commonplace studio material textures
with archetypal forms from fine art and ceramics - such as vessels, plinths, frames and
canvases. This mimetic process raises questions about the status and value of ceramics, art
and craft. She is also interested in exploring memory and nostalgia through casting.
Madeleine is passionate about fairness in the arts sector and has written and presented for
various publications and educational, media, union and industry bodies. In 2022 she had a
major solo exhibition of slipcast ceramic paintings titled ‘Painting Place’ at Town Hall Gallery,
Melbourne and 2023 she curated a two-part exhibition titled ‘REAL JOB’ at Counihan
Gallery, Melbourne with sixteen artists advocating for the value of artists’ labour. Madeleine
has completed tertiary studies in painting, ceramics, English, writing and languages. In 2017
she graduated with First Class Honours in Fine Art and in 2025 she commenced a Masters
of Fine Art by Research at RMIT examining women, community and craft. Madeleine has
over a decade’s experience working as a carer and in community arts education and
teaches ceramics to young people, children and adults with disability. She has undertaken
several local and international art residencies and has exhibited in various artist-run, private
and public galleries.
Artist Statement
Traditionally, a hierarchy of material and medium has governed how and where art objects have been regarded and exhibited in the West – primarily for reasons of class, gender and culture. The split between art and craft began in the Renaissance period, when the “heroic” notion of the artist developed in opposition to artisans working collaboratively and anonymously in an atelier. Madeleine Thornton-Smith’s practice led research attempts to challenge archetypes found in Western art history, particularly in painting, sculpture and ceramics. After years working in the community sector as an educator, artist and activist, the social aspect of Madeleine’s practice also investigates how resistance movements have used craft as an organising tool. Her labour activism has manifested in artworks defending the value of crafted, female and working-class labour, skills-sharing, podcasts, articles, community exhibitions and workshops focused on topics such as feminism, workplace rights and organising. Madeleine believes that the fine art world can be a competitive, isolating place and she challenges its individualism by promoting solidarity and mutual respect - particularly between female artists, ceramicists and craftworkers. She is interested in public programming that encourages participants to have open and challenging discussions while keeping their hands busy - in the tradition of radical art collectives, community centres and craftivist circles.