minaal@minaallawn.com

Colour, multiplicity and abstraction interplay gracefully in the practice of Indian-Australian artist Minaal Lawn. Rooted in deep visual history, her work brings ceramic forms into dialogue with memory and personal identity. Drawing on object symbolism, Hindu worship culture, and the aesthetics of ritual, she creates intimate, autobiographical work.

Navigating a complex sense of belonging, Minaal uses abstraction to dissolve distinctions to return to a more elemental sense of being. As a first generation Australian living in Dja Dja Wurrung Country (Glenlyon) in Central Victoria, she traces the intersections between inherited heritage and the landscape that surrounds her.

Minaal has held institutional solo shows at the Art Gallery of Ballarat (2022), Castlemaine Art Museum (2021).  Commercial solo shows at Stockroom (Kyneton 2023), Craft Victoria (2020), Craft Contemporary (Castlemaine, 2020), ArtBox (Merricks, 2019) among others. 

Selected group shows include Colour Working / Working Colour (Fiona and Sidney Myer Gallery 2025) Mining Memory (La Trobe Project Space 2024, ARI Pop Gallery (2024), Craft Victoria (2023), NGV Melbourne Design Week (Verdant 2024, Flack Studio presentation Open Table 2023, Future Inheritance 2021), CLAD Gallery (Bendigo, 2020) and Daine Singer (Fitzroy, 2019) 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, she has collaborated with interior design studios, Danielle Brustman (2023), creative director Marsha Golemac (2021), commissioned by Jardan (2022), fashion brands Radical Yes (2019, 2018) Nelson Made (2018).

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