Jeweller Samantha Dennis is making headlines with her unconventional collection that features toad intestines and other animal organs, challenging traditional perceptions of beauty in jewellery. Her work, displayed at the National Gallery of Victoria (NGV), questions societal value systems regarding animals and materials, prompting viewers to reconsider their emotional reactions to different settings and contexts.
The collection, part of the Rigg Design Prize, showcases a toad-shaped porcelain jewellery case that contains pearls designed to resemble intestines, alongside gold and silver charms representing internal organs. Dennis, who is also a veterinary nurse, explains her fascination with how societal hierarchies deem certain animals as undesirable or dispensable. “In Western society, these animals are considered lesser or vermin,” she states, emphasizing the need to reflect on why we draw these distinctions.
Dennis’ work is part of a broader exhibition featuring 34 designers competing for Australia’s richest design award, valued at $40,000. This year, the prize highlights emerging talent, with Alfred Lowe, a ceramicist from South Australia, taking home the award for his piece, “You and Me, Us Never Part,” which he describes as a “declaration of love to my community.”
Exploring Materiality and Perception
The Rigg Design Prize aims to identify early career practitioners under 35 who demonstrate commitment and contribute to their field. Simone LeAmon, NGV curator of contemporary design, notes that the prize stands out for its curated approach, focusing on designers who offer fresh perspectives and experimental techniques.
Dennis is not alone in her exploration of materiality. Hamish Donaldson, a glassmaker from Red Hill, uses techniques that blend ancient glassblowing methods with modern aesthetics. His series “Gnostalgia” features bottles that represent the triad of the alchemical universe: salt, mercury, and sulphur. Donaldson highlights the transformative nature of both glassmaking and alchemy, stating, “Glass in itself goes through quite a chemical process to reach its final form, transforming this base material of sand into an elegant glass piece.”
Other designers, such as Douglas Powell, are pushing the boundaries of material use. Powell repurposes heavy metals into lightweight inflatable furniture, employing techniques from the automotive industry to create innovative designs like the Luva chair and Mbosho table. He describes his process as a constant experiment, stating, “The very last step is to inflate it because that’s where the unexpected life and joy is thrown into it.”
Commitment to Sustainability
Sustainability is a crucial theme among the exhibited works. Isaac Williams, a Tasmanian furniture designer, is transforming waste materials into functional art. His “Rebirthed Pallet Dine” celebrates the often-overlooked pine pallets used for transporting goods, exemplifying a movement towards eco-conscious design.
The Anywhere project by Sydney designers Second Edition focuses on recycling marble and ceramic bathroom materials, addressing the significant waste generated in construction. LeAmon remarks on the innovative thinking behind these initiatives, stating, “These are architects going, ‘This is crazy, you can use half this stuff’.”
The exhibition, titled “The Rigg Design Prize 2025: Next in Design: 35 Under 35,” runs from September 19, 2025, to February 2026 at NGV Australia. On September 20, a panel discussion featuring twelve of the designers will delve into their work and creative processes, providing further insight into the evolving landscape of contemporary design.
Through her provocative use of materials and themes, Samantha Dennis and her fellow designers are not just creating art; they are igniting conversations around value, sustainability, and the role of design in society. Their works serve as both aesthetic expressions and thoughtful commentaries on the world we inhabit.
