Minaal Lawn (b. 1977) is an Indian-Australian artist based in Central Victoria on Dja Dja Wurrung Country (Glenlyon). She is recognised for her ceramic sculptural works marked by her materially restrained and colour-driven vocabulary. Drawing on a deep visual history—including object symbolism, Hindu worship culture, and the aesthetics of ritual—she creates intimate, autobiographical work that explores the grey space of cultural hybridity.

Minaal has exhibited across Australia, selected solo presentations include Art Gallery of Ballarat (2022), Castlemaine Art Museum (2021). Group presentations include Fiona and Sidney Myer Gallery (VCA 2025), Craft Victoria (2023), NGV Melbourne Design Week (Verdant 2024, Flack Studio presentation Open Table 2023, Future Inheritance 2021) among others.

Minaal is a Footscray Art Prize (2023), Muswellbrook Art Prize (2022) Clunes Ceramic Awards (2019), The Du Rietz Art Awards (2019), The Wyndham Art Prize (2019), Saint Cloche Gallery (Little Things Art Prize 2018) awards finalist.

In addition to her exhibition practice, Minaal has developed collaborative projects across design and fashion, with her work featured in publications including Vogue, Design Anthology and Architectural Digest.

Super pleased to be exhibiting works from The Test Series 🏏 for @daniellebrustman #melbournedesignweek presentation: Super Fab Shop ♥️ Opening night Friday 16th 6-9pm Live jazz 🎶 Loretta & her boyfriends ❤️ @lorettamillermusic @darcymcn
Shachi (for Strength) Ceramic, glaze, steel 175 x 30 x 30cm I often get asked if living regionally - that is on a farm - influences my practice. It does. Moving from Brunswick to Glenlyon (Central Victoria), six years ago, I notice the big open ski
Last week to see Not Wall No.3 @fsmyergallery My largest work to date, it features 400 ceramic sculptures, individually knotted, refined, tapped, brushed, glazed and inspected by me 🪢 Showing as part of Colour Working / Working Colour, which draw
Not Wall No. 3 (2025) (detail) Says @davidsequeirastudio “Minaal Lawn’s Not Wall 2025 has its source in childhood stories and superstition and the rich symbolism of the knot in Hindu worship culture. Combining this symbolism with her int
Not Wall No. 3 (2025) is my largest work to date, showing as part of Colour Working / Working Colour curated by @davidsequeirastudio @fsmyergallery alongside artists Josef Albers 💫 @finlaysonanna @david_serisier @peteratkinsta #tareemackenzie The s
Incredibly excited to be included in this fabulous show Colour Working / Working Colour curated by @davidsequeirastudio at Fiona and Sidney Myer Gallery, VCA @fsmyergallery, with stellar artists @peteratkinsta @finlaysonanna @david_serisier #tareemac
The Vedic Worth maquettes gesture toward a lineage of thought and ritual where the feminine holds a quiet, elemental power—unseen yet burgeoning. These pieces are intimate, detailed studies of new forms, completed works in themselves, they off
The Vedic Worth maquettes gesture toward a lineage of thought and ritual where the feminine holds a quiet, elemental power—unseen yet burgeoning. These pieces are intimate, detailed studies of new forms, completed works in themselves, they off
The Vedic Worth maquettes gesture toward a lineage of thought and ritual where the feminine holds a quiet, elemental power—unseen yet burgeoning. These pieces are intimate, detailed studies of new forms, completed works in themselves, they off
So delightful to revisit Adorned Vessel No. 14 (for Exuberance) and Adorned Vessel No. 18 (for Stillness) sitting very happily in the @ysg.studio designed wonderland MO JACOBSEN 🙏💚 Repost via @yellowtrace 📸 @smartanson
Hello to 2025! 🙏 . . . Image by my youngest - of her hand - and her ideal henna design ♥️